At the Bottom of Everything opens with a story of a plane crashing. This leads to an ode of both appreciation and carelessness in the face of life, as well as critiques of consumerism and other concepts. Instrumentally, the performances are quite heartfelt during the whole duration, but if there’s one thing to highlight is the spoken word at the beginning, which opens both the song and the record quite beautifully.

Mid-High 8.

We Are Nowhere and It’s Now features beautiful storytelling depicting a very caring friendship; in its way exploring emotional contradiction, the weight of the past and future, salvation and God, and other intricate topics that afflict us all. The instrumental complements the lyrics beautifully, while it simultaneously provides soothing and evocative arrangements on top of amazing backing vocals courtesy of Emmylou Harris.

Mid 9.

Old Soul Song (for the New World Order) features some more stunning storytelling about a protest, as well as the revealing photographs taken by the speaker along with their friend — which doubles as a depiction of the now-gone hope of being able to make a change. Instrumentally, the sheer chemistry between the arrangements made for piano, organ and both eclectic and acoustic guitar is stunning. It all comes together in a way that is as subtle as it is brilliant.

Low 9.

Lua is a wonderfully heartbreaking song. It contains a truly unbelievable ability to create emotions through emotionally scarring phrases describing substance abuse and depression; doing so through a fantastic recurring device in the shape of hurtful comparisons between nighttime and daytime. Such heavy lyricism could only be done justice by an equally morose performance, which is exactly what happens in this very intimate cut.

High 8.

Train Under Water is quite a torn-in-half track, featuring both desperation and hope amidst more alcohol and late-night outs in New York. Both lyrically and instrumentally, this is one of the tracks where the inconsistency begins to set in, in my opinion. With some sections within the track outshining others — even if it is only slightly.

Mid-High 7.

First Day of My Life is a beautifully written love song but with incredibly complementing and realistic uncertainty — in the end, making this quite a powerfully evocative listen. It also features one of the prettiest arrangements and performances as well, with a simplicity that needs nothing more to be touching.

High 8.

Another Travelin’ Song deals —in a sad and relatable way— with themes of change, and possibly failed attempts to do so; with especially dark and gut-wrenching moments in the “dream” section of the song. Instrumentally, the more up-tempo approach is quite an appreciable one, although personally, it sacrifices emotion as a trade for this fun; though not too much.

High 7.

Land Locked Blues deals nicely with themes of co-dependence, as well as a feeling of imprisonment when you can’t see freedom as more than a joke. It also features quite an endearing ending, with the speaker leaving despite the uncertainty. Instrumentally, the trumpet solo is quite an inspiring and aesthetic addition to the track. Nonetheless, it feels slightly tame as a composition, even if the emotion is there.

Low-Mid 7.

Poison Oak has a nice instrumental break, but otherwise, it’s a tad weak and laid back in composition. On the other hand, the lyrics are a heartbreaking detailing of Conor Oberst’s emotions as a result of someone close to him passing away. All in all, it’s an enjoyable cut, even if it’s slightly lacking.

Mid 6.

Road to Joy: Musically, it’s an absolute beast of a song and an amazing album closer. Moreover, the chaotic breakdown —as well as the rest of the composition— wonderfully fit the lyricism as well. Speaking of the lyrics, they are a nihilistic and sarcastic take on the day-to-day; with even the title (and melodies) being a tongue-in-cheek nod to “Ode To Joy”. Overall, a pessimistic and heartbreaking albeit incredibly evocative song. Finally, there is hate and hurt present, and it is as heartfelt as it is cohesive with the instrumental.

Low 9.