Maybe sometimes one can judge a book by its cover. In the right light, the cover of Bright Eyes' Digital Ash in a Digital Urn depicts either a delicate flower or man vomiting digital numbers into a toilet, and that speaks volumes. That group ringleader Conor Oberst felt artistically forced to release two polar opposite albums on the same day is enough of an explanation as to why some of the stuff on this, the more "difficult" album (when compared to I'm Wide Awake, It's Morning), alternates between somewhat artistic and just plain wacky. But that doesn't make it great.

The problem with Digital Ash isn't exactly its songwriting but its overly electronic arrangements. "Gold Mine Gutted" and "Take It Easy" have some memorable pop qualities, but digital sounds and awkward programmed drums smother most of their catchiness. "Light Pollution" is an exception, as one of the only tracks with a hip, '80s new wave feel.

This is not to say that none of the songs sound "real," however. "Hit The Switch" is more of a typical Bright Eyes composition, with a country beat and arpeggiated guitars and keyboards. Likewise, "Devil In The Details" features a slower arrangement, complete with gentle harp. Still, someone threw in a few weird buzzes and bangs. They had to fit in on the "difficult" disc somehow, right?

Speaking of difficult, Oberst's Robert Smith impersonation can be somewhat difficult to stand for 50 minutes.

This isn't for listeners that have to wonder if he purposefully sets up the mic too far over his head because he likes the way it sounds when he has to strain to sing properly.The result is a very digital-sounding album that sort of sounds like Bright Eyes. The arrangements force the listener to wonder what they might have sounded like if done in some other way. Digital Ash could very well pass for some crazy DJ's remixed version of a possibly better, "easier" Bright Eyes album.

-- Reviewed by Paul Weinstein