Colburn, Randall (January 24, 2019). "Conor Oberst and Phoebe Bridgers just dropped an album as Better Oblivion Community Center". The A.V. Club . Retrieved January 24, 2019. The album had an elaborate rollout featuring cryptic brochures and a telephone hotline. [6] They performed "Dylan Thomas" on The Late Show with Stephen Colbert on January 23, 2019. [7] The album was released the next day. Official Independent Albums Chart Top 50 - 1 March 2019". Official Charts Company . Retrieved 15 April 2022. Trendell, Andrew (January 27, 2019). "Phoebe Bridgers & Conor Oberst – 'Better Oblivion Community Center' review". NME . Retrieved January 27, 2019.

Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge. a b c d Sodomsky, Sam (January 25, 2019). "Better Oblivion Community Center: Better Oblivion Community Center Album Review". Pitchfork . Retrieved January 25, 2019. Music critics have spilled a lot of ink over your guys work. I’m not even gonna try. But can you describe each other’s song writing in three words?It’s got a sort of grunge vibe. Did you know that in dream analysis the color yellow is symbolic of intellect, energy, agility, happiness, harmony, and wisdom? The album is a loose concept album about the Better Oblivion Community Center, a fictional dystopian wellness facility. [6] Release and promotion [ edit ] For Bridgers, this was essentially square one. Her songs, hushed and patient, often seek in-the-moment honesty over retrospective wisdom. She’s equally adept at capturing an omnipresent fog of melancholy and the cosmic joke looming just outside our periphery. Her debut was filled with odes to friends who died too young and woeful retellings of her stoned, late-night regrets, all sung with a lightness that made her worldview seem both chaotic and consoling. Late in the album, she invited Oberst to sing on a ballad called “Would You Rather.” Voicing the troubled family member who helped make Bridgers’ childhood survivable, he echoed her fluttering whisper in a low, empathetic wheeze: “I’m a can on a string/You’re on the end.”

Phoebe Bridgers Chart History (Top Americana/Folk Albums)". Billboard. Retrieved November 14, 2020. Phoebe: Yeah, we didn’t know if it would be a single or an EP or what, but we knew we wanted to try writing together and for it to have its own identity with a band name. So then you guys would guest at each others shows, right? And Conor, you were spending a lot of time in Los Angeles around this time. Cuz you’ve been in Omaha mostly the past few years but you have a spot in LA, on the West Side. Manno, Lizzie (January 24, 2019). "Phoebe Bridgers and Conor Oberst Surprise-Drop New Collaboration Album, Better Oblivion Community Center". Paste. Archived from the original on April 20, 2019 . Retrieved January 24, 2019. He wasn’t kidding. After some trying years, Oberst’s recent work has been a vessel for stark, existential unburdening. On 2016’s Ruminations and its 2017 companion Salutations, he funneled first-person accounts of grief, depression, insomnia, paranoia, court appearances, and hospital visits into his most vivid and unsettled music in years. Drawing a direct line to the shaky downer anthems that made Bright Eyes an influence for so many young artists—Bridgers included—these newer songs sounded exhaustive and raw, like there was a punchline at the very bottom of all his anxieties and he’d dig through them like a pile of dirty laundry to uncover it.Because of their uniquely emo vocal styles and their tender subject matter, both Oberst and Bridgers are typically characterized as confessional songwriters, which can belie the complexity (and humor) of their work. In these songs, they push each other to write more in character. The opening “Didn’t Know What I Was in For” is an imagistic story-song that spirals out from dreary contentedness. Observing a friend who “says she cries at the news but doesn’t really” and eavesdropping on poolside conversations that start polite but “always sounds so cruel,” Bridgers implicates herself in a generational sense of helplessness: “I’ve never really done anything for anyone,” she sings over a mournfully strummed acoustic guitar. I guess my last question is do you think this is a one off or do you think there will be more Better Oblivion Community Center albums to follow?