Conor Oberst – better known as his musical personae Bright Eyes – has never seemed like an overly pious man. The material on this new album doesn’t say anything different. Religious imagery is abundant on the record, but the references are more about why people need gods than any statement of faith (or, in the case of the introductory monologue, why Scientologists need lizard people from space). With haunting and danceable turns, The People’s Key may be Bright Eyes’ most mature and polished-sounding album to date. This is only subtly so. Oberst has made progress in his sound and delivery, but the occasional, excessively blunt lyrics are still apparent.
The album begins strong, with “Firewall,” “Shell Games” and “Jejune Stars” — songs that all feature strong melody lines and competent lyricism. “Shell Games” is particularly striking, with insistent percussiveness in both the drumming as well as the lyrics and their delivery. This rhythmic intensity continues with one of the record’s highlights, “Jejune Stars.” Its introductory riffs recall Oberst’s earlier work with Desaparecidos. Yet as soon as he opens his mouth to let loose more developed lyrics with a significantly stronger voice, ten years of progress is evident.
The People’s Key hits its first snag on the fourth track, “Approximated Sunlight,” which drags for an extraneous 4:24 as its boring drumbeat ticks on endlessly. “Haile Selassie” picks things up a bit, and while the track is repetitive there is something almost mesmerizing about the steady 6/8 time. Along with “Jejune Stars,” this seems to be one of the more radio-ready tracks. On the other hand, there’s “Triple Spiral,” whose title is a reference to the holy trinity. While a little rougher than some of the other tracks, its lyrics provide a solid summary of the album’s themes and perhaps an explanation for the various bits of spoken word — “That’s the problem / An empty sky / I fill it up with everything / That’s missing from my life.”
“Beginner’s Mind” cuts back for a moment to acoustic guitar. Even when it inevitably builds back up, things seem more decipherable; here, less is more. “Ladder Song” follows this formula to wonderful effect, with simple piano and voice. The album’s closing track, “One For You, One For Me,” is backed by a casual groove and equally laid-back lyrics, until it gives way to one final snippet of sermon on mercy, love and understanding. A little blunt, perhaps, but to be expected.
When stripped down (as on 2005’s I’m Wide Awake, It’s Morning), Bright Eyes pushes lyricism to the forefront, both in the words and in the music. However, the “bigger” songs have much to offer musically, with a great deal of interesting elaboration. The People’s Key brings together these two worlds, and is therefore capable of pleasing fans from both camps. If you’re a longtime fan of Bright Eyes, you’ll be pleased. If you’re looking for a decent new release, this is also a good pick. It certainly isn’t perfect, but The People’s Key is a step forward rather than a retreat. •
