Bob Dylan. Bruce Springsteen. Robert Smith. Morrissey. Jeff Tweedy.

It’s time to add one more name to the list of poetic singers who can twist and turn words with flawless ease and wrap their lyrics around chord progressions that would leave Ryan Cabrera shaking in his gym shoes.

That name is Conor Oberst.

The 24-year-old Nebraska native transplanted himself to New York City two years ago after releasing “Lifted or The Story is in the Soil, Keep Your Ear to the Ground” to critical acclaim.

Oberst returns strong, releasing two albums on the same day – “I’m Wide Awake, It’s Morning,” an acoustic masterpiece filled with soaring vocals, and “Digital Ash in a Digital Urn,” a darker album with blaring electric guitars and effects strewn about.

Mandolins, harmonicas and trumpets blend together over snare pops and twangy guitars on “I’m Wide Awake, It’s Morning.” Folk songstress Emmylou Harris lends her vocals to three tracks and complements Oberst’s youthful crooning.

Simplistic songs like “Lua” showcase a lone Oberst and his guitar while barely audible vocals hinder on the edge of tears.

“Road to Joy” takes its timing structure from Beethoven’s Ninth, with ascending and descending tones and vocals to match. The last 51 seconds close the album with a raucous, powerful noise, which proves to be the highlight of the album.

“Digital Ash in a Digital Urn” plays with electronic elements and faster beats while Oberst continues to sing his heart out.

Yeah Yeah Yeahs guitarist Nick Zinner guests on half the album, either on guitar (“Hit the Switch”) or keyboards (“Down in a Rabbit Hole”), with simple tones reminiscent of the artistic ballad “Maps.”

Nelly can put his sweat suit away and step aside for the new king of the dual album release.