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Bright Eyes / People's Key, The
Album:People's Key, The Collection:General
Artist:Bright Eyes Added:02/2011
Label:Saddle Creek 

A-File Activity
Add Date:2011-02-27 Pull Date:2011-05-01 
Week Ending:1 May24 Apr17 Apr10 Apr3 Apr27 Mar20 Mar13 Mar
Airplays:14534537

Recent Airplay
1.Wed, 13 Apr 16:iota
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2.Fri, 12 Feb 16:Francis D
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Album Review
Trent Kay
Reviewed 2011-02-24 
Folk-addled pre-indie (nee emo) from one of our greatest young songwriters. Deep lyrics, layered melodies, complex songs that go places. There’s something very -- god help me -- American about this sound. Like, if only Chris McCandless played guitar. Conor Oberst claims this is to be the last Bright Eyes record, in which case it’s a solid and confident bookend to a long, whiny, brave and brilliant 13ish-year career. (I didn’t even catch a single “Laura” in the lyrics.) Like everything Conor touches, this record is damn good -- but I just don’t love it the way I love I’m Wide Awake It’s Morning. I’m particularly annoyed by the frequent vox sample insertions of some dude rambling about multiple dimensions and breeding between humans and reptiles. (Think: bad audition reel from “What the Bleep”.)

RIYL: Elliott Smith, Bob Dylan (laugh it up, kids)

try: 2, 3, 9, 4, 1, 10
no FCCs

*1. START 4:50 to end, unless you want to hear Mr. Mystic rant about Genesis and Tesla. from there: mid-slow dark sidewindy western riff, doubled minor vox. spare but heavy bass drum. niiice bashy-yet-controlled breakdown towards the end. military snare. gets loud and angry. something about this track reminds me (superficially) of “the chain”.
*2. triumphant confident moving indie pop. starts with slowish exposed vox over pedal piano, picks up into what can only be described as a ‘springsteen chorus’ (i’ve been writing that a lot -- i think it’s coming back) with smart kit and pompy synth. this song is so good it’s a little unbelievable. yeah, it’s the single, but it deserves to be.
*3. attacky start, then killer choked flute synth that sounds like a plucked cello and a great slurry melody. fastish. bright and beamy chorus. “if it’s true what we’re made of, why do i hide from the rain?” fade :20 out, unless you want to hear Mr. Dumbshit rant about a pomegranate.
*4. slooow doom march deep bass drum and drop-down bass. great digital harmonies, then spiritual choral backing vox. atmospheric and gloomy.
5. upbeat, but difficult at first. jolting seasick 1-2-3 beat, ruddering reverby guitar. breaks into a smooth bright chorus: “i seen, i seen, i seen stranger things man.”
6. islandish, loose laid-back tempo. shakers, vibes, steel drum, light percussion, cymbal crashes like a steam train. suuper-echoey acapella bridge. scattered sampled ending.
7. rockin! bashy, guitar heavy. about as tight and smart a beat as bright eyes can pull off. handclaps. kinda new pornographers.
8. exposed vox, bellsy acoustic. light + insistent kit. gets reverby and fuzzy. actually morphs into a synth-bop happy bright bouncer... then puts its feet down at the end.
*9. reverb-soaked ambient echoey keys and naked vox. drumless. it’s basically conor and a haunted minor piano being sad for four minutes. sounds like ‘classic’ bright eyes: poison oak two-point-oh.
*10. midtempo, swaying, washy, soary, bellsy. more steel drum. more flute synth. the lyrics are poem structured, citing opposites: “one for the bread lines, one for the billionaires.” FADE OUT at 1:25, unless you want to hear Mr. Annoying New Age rant about “the cosmos”.

Track Listing
1.Firewall 6.A Machine Spiritual (In The People's Key)
2.Shell Games 7.Triple Spiral
3.Jejune Stars 8.Beginner's Mind
4.Approximate Sunlight 9.Ladder Song
5.Haile Selassie 10.One For You, One For Me