Review: Bright Eyes - The People's Key

Appears at http://www.nationalunderground.org/news/must-have-albums/379-bright-eyes-the-peoples-key

Knowing that the era of Bright Eyes was coming to a close, one might anticipate a four year absence to result in some epic, cathartic goodbye that somehow comes full-circle, providing an undeniably satisfying sense of closure. With these expectations, The People’s Key is not going to please everyone, but it proves its worth on its own merits. This is simply an excellent album, regardless of its position within the Bright Eyes catalog.

The band’s past two full-lengths, not counting the electronic-based Digital Ash in a Digital Urn that was released simultaneously with I’m Wide Awake, It’s Morning, have hinted at an evolving preference and gravitation toward elements of bluegrass and alt-country. The People’s Key refrains from contributing to this pattern, instead embarking upon a new, final chapter. While this new sound is most comparable to that which characterized Digital Ash, the parallels aren’t obvious enough to indicate a conscious revisitation of former musical exploration. The People’s Key does contain the use of programming, synthesizers, and vocal effects, but for the most part, the album carries a distinct, unique vision that distances itself from the entirety of the band’s back catalog.

Musically, The People’s Key encompasses a dynamic range of styles that speaks of the members’ eclectic pursuits. The frantic between-verse transitions of “Jejune Stars” feature short bursts of punk rock chaos reminiscent of Defiance, Ohio. The back beat and vibes of “Approximate Sunlight” wouldn’t sound out of place on a hip-hop recording. The piano balladry of “Ladder Song” harkens back to familiar Bright Eyes territory, as does the unsettling chord progression of primarily-solo number “Firewall,” which incorporates faint traces of a pedal steel guitar.

Conor Oberst’s resentment and, perhaps, embarrassment toward a former self, is an apparent though understandable force informing these lyrics, not to personally discredit his early material. All songwriters grow, but Oberst has literally documented an introspective examination of his transition from child to adult. Now thirty-one years old, Oberst is no longer concerned with expressing the personal angst from which he acquired a massive fan base of young adults who felt they could relate to the raw emotions communicated by his quivering voice and painfully honest lyrics.

The People’s Key instead centers around the mystical as well as historical names and places, enhanced by the spoken word of a lecturer who guides the themes of spirituality through well-placed interludes. Self-reflection occasionally slips into the picture, though it’s usually in a subtle manner. Lead single “Shell Games” exemplifies this, with Oberst admitting, “I was dressed in white, touched by something pure, death-obsessed like a teenager. Sold my tortured youth, piss and vinegar. I’m still angry with no reason to be.” Lines such as these are few and far between, but Oberst’s indisputable honesty is nonetheless conveyed, albeit in some clandestine phrasings. This makes it all the more rewarding when one stumbles across a particular line and contemplates it as fitting within the context of Oberst’s introspective side. I found myself lingering on those bits and pieces that best reveal his true feelings.

With The People’s Key, Bright Eyes concludes a discography that has highlighted the many artistic aspirations of its members Conor Oberst, Mike Mogis, and Nathan Walcott. Rather than reverting to a crowd-pleasing formula, their final album merely widens the span of the band’s creative endeavors. While it would have been interesting to see a formal acknowledgment of its unfortunate discontinuation in the music itself, it is admirable that the members of Bright Eyes have approached the situation with modesty, as they’ve articulated in the album’s liner notes: “Many thanks to our friends and families and to all who have supported us over the years and continue to do so in spite of everything. We’d be lost without you.” One can rest assured that the gratitude is mutual.