Greetings from the Outer South

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Conor Oberst’s discography has transcended the boundaries of his often-appreciated shaky voiced, emotive lyricism that captured the hearts of melodramatics over his career. His latest folk styled release, “Outer South,” has become more of a throwaway purchase than a staple in the collection. Released on Tues., May 5, by Merge Records, Oberst and his Mystic Valley Band produced the sixteen-track album that borders on the fringes of par to subpar.
Oberst and the boys open the album up with the folk jam, “Slowly (Oh So Slowly).” Reminiscent of “Danny Callahan,” off Oberst’s first solo project, the track is upbeat and works as a solid opener with its sing-along sections.
Taking a narrative route on the vocals, Oberst starts the track slow until Jason Boesel comes in on drums to increase the tempo, though the pace is still leisurely with its melodious guitars.
Climbing into the back seat of the tour van on, “Big Black Nothing,” Oberst allows his band mates the chance to highlight their vocals. Group vocals back up the singing on the track, matched with handclapping. A pop-country jam for sure, pianist, Nate Walcott, helps break up what could’ve been a monotonous jam.
“Air Mattress,” suffers a heavy keyboard enthused jam that echoes towards an indie-pop, Europe-enthused track. Paired with the vocals, the song is far cry from solid Oberst material.
As the tracks dwindle down, the album picks itself up off the shelf in the latter half. Tracks like the dance hall feel of “Cabbage Town,” “Nikorette” and “Bloodline” as background music to a BBQ, establish a mix of airy vocals, quick measures and Oberst’s apparent humbleness as the members continue to trade off on harmonies.
Between its hits, “Outer South” finds its slower side on tracks like, “Ten Women.” Dylan comparisons aside, Oberst’s voice adapts the prose lyricism and meandering guitar that create the frame for an authentic Oberst solo the album seems to be longing for.
While the album winds itself out on a steady, slow, repeat cycle for the last six tracks, the quality remains somewhat pleasing. “Spoiled,” begins with a calypso appeal, which gives hope for a head-swaying track, but begins to sound more like a Huey Lewis rip-off than an island inspired folk track.
Oberst seems to find strength in the familiar as the album polishes off with a style comparable to that of his self-titled effort with tracks like, “Eagle on a Pole.” Different in it’s sound, the track is a swift composition of deep vocal tones followed by, “I Got the Reason” and “Snake Hill,” both of which cap the album in a soul meets country-pop fashion that provide a mature sound for Oberst, which will hopefully be the future for his next release.