Much like a certain yeast based spread, Bright Eyes is either loved or loathed. Conor Oberst's melancholic crooning and country-tinged melodies have divided the indie community like Moses at the Red Sea for years. New single Four Winds may have finally bridged the gap – but not necessarily for the better. Limping along like a sub-standard Dylan cast-off hijacked by The Thrills, the jingling guitar and eloquent viola lack any of the enigmatic sparkle of old. He may be pandering to the masses but, love or hate his music, it's hard not to be saddened by Bright Eyes' sudden ambivalence. [Billy Hamilton]