An Incredible Pairing

Better Oblivion Community Center, the new project from Bright Eyes’ Conor Oberst and Phoebe Bridgers of boygenius is a tantalizing folk-rock record brimming with introspective lyricism, beautiful instrumentation and powerful vocal performances from both Bridgers and Oberst. The self-titled record, which Better Oblivion surprise-dropped on January 24, merely scratches the surface of the potential of this superstar indie duo.

Better Oblivion Community Center begins and ends with the incredible vocal work of Bridgers and Oberst. In particular, Bridgers’ beautifully tender and vulnerable vocals stand out as the distinctive staple of these songs. Oberst’s raw, authentic vocal style compliments Bridgers perfectly, and the result is stunning.

Yet Oberst and Bridgers specifically tailored the vocals of this record to avoid becoming a “duet album,” as detailed in an interview with GQ. Rather than a traditional back-and-forth duet, Bridgers and Oberst almost always sing in unison. Their two distinct voices blend into something different altogether; a singular voice unto itself. This vocal style is incredibly effective, standing out most notably on “Chesapeake,” “Dylan Thomas” and the latter half of “Didn’t Know What I Was In For.” Consequently, these are three of the album’s most memorable tracks.

As the first track on the album, “Didn’t Know What I Was In For” is the perfect introduction to Better Oblivion. It combines a beautiful yet somber instrumental highlighted by emotive guitar swells with some of the best vocals on the record. The song’s first chorus–also the first moment when Oberst and Bridgers combine their voices into one–is arguably the defining moment of Better Oblivion Community Center. The listener doesn’t quite know what they’re in for until this stunning chorus reassures them of the fantastic 38 minutes of music that will follow.

The song also showcases some of the album’s more powerful and introspective lyrics. The final verse stands out: “To fall asleep I need white noise to distract me / Otherwise I have to listen to me think / Otherwise I pace around, hold my breath, let it out / Sit on the couch and think about / How living’s just a promise that I made.”

Instrumentally, Better Oblivion lacks some of the innovation of Oberst and Bridgers’ previous respective projects. To call it standard indie folk-rock would be painting with far too broad of strokes, however, as there are plenty of standout moments. The guitar solos in “Dylan Thomas,” the pulsing synth riff on “Exception To The Rule,” the melodic guitar licks in “My City” and the emotional climax of the album’s conclusion, “Dominos.” The rhythm section fails to make a particularly memorable impact, but it serves the songs perfectly, creating a tight, steady framework on which Bridgers and Oberst build.

Better Oblivion Community Center paints a gloomy picture of modern society but leaves us with a twinge of optimism for a better oblivion. The album’s final lyrics remind us, “And if you’re not feeling ready / There’s always tomorrow.”

Above all else, Better Oblivion Community Center is a glimpse at just how special the pairing of Phoebe Bridgers and Conor Oberst has the potential to be. Their first collaborative record is an excellent one, but after listening it’s impossible not to daydream about the possibilities of what these two could achieve with more time working together.