The People's Key
|The People's Key|
|Studio album by Bright Eyes|
|Released||February 1, 2011 (Saddle Creek online pre-order)
February 15, 2011
|Bright Eyes chronology|
|Metacritic||70/100 (35 reviews)|
|Consequence of Sound|||
|Drowned in Sound|||
|One Thirty BPM||(70%)|
|Tiny Mix Tapes|||
The People's Key is the eighth studio album by Bright Eyes, the Nebraska band of Conor Oberst, Mike Mogis, and Nate Walcott. The album was recorded in Omaha, NE at ARC Studios, produced by Mogis, and engineered by Mogis and Andy LeMaster. The album was released on February 15, 2011, Conor Oberst's birthday, on Saddle Creek Records. Before then, it was streaming online in its entirety as part of NPR's "First Listen" series.
The album features guest artists Andy LeMaster of Now It's Overhead, Matt Maginn of Cursive, Carla Azar of Autolux, Clark Baechle of The Faint, Shane Aspegren of The Berg Sans Nipple, Laura Burhenn of The Mynabirds, and Denny Brewer of Refried Ice Cream. The lyrics make mention of Haile Selassie, the Lion of Judah and I and I; all things associated with Rastafari.
The first 50,000 copies of this album came with a limited-edition packaging similar to that of all copies of the LP record, in a 6-panel tri-fold die-cut digipak printed on iridescent foil, and including an O-card, full-color CD inner sleeve and a 20-page booklet.
In January 2011, it was announced that The People's Key had won the Best Art Vinyl award.
|“||“The basic idea for the artwork came from Conor (Oberst). He wanted it to look like a wall of fire, as this was one of the themes/images of the album. He left the execution up to me, but he said he wanted it to be visually striking. I used cut paper, as this was the technique I did for the first release I worked on for him--the "Every Day and Every Night" EP from 1999. I thought it would be fitting to return to the original style of artwork I did for Bright Eyes, since at that time the word was that it would be their final album. It was made at roughly actual size as it appears on the LP jacket (three panels wide for the deluxe version). I cut the flames out using a surgical scalpel and glued them onto a board. This was scanned and pieced together in Photoshop. The deluxe version of the LP and CD were printed on an iridescent foil, which gave a shimmering effect to the inside and outside of the jackets. They were done at Stoughton Printing, and are the old style "tip on" jackets, tri-fold, with the front flap having die cut flames along the top. I think first about the vinyl format when designing an album package. I couldn't care less what something looks like as a tiny thumbnail on someone's phone. At that point, does it even matter? Music packaging should be designed for vinyl first, then CD, and MP3 last, because that's the order in which viewing it matters. In my opinion, listening to an LP while viewing jacket artwork is the ideal way to experience an album. Anything other than that is a compromise--for convenience, for cost, etc.”||”|
The People's Key has received mixed to positive critical reception. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 70, based on 35 reviews, which indicates "generally favorable reviews".
Allmusic praised its smaller scale and gave the album 3 and a 1/2 out of 5 stars. Pitchfork gave the album 5 out of 10 and criticized the 'impersonal' feel of the songs, yet praised "Ladder Song". Slant Magazine gave the album 2 out of a possible 5 stars. No Ripcord gave the album a 60 and commented, "There's not a lot fundamentally wrong with The People's Key; it's just that we know Bright Eyes can do better." However, Drowned In Sound and NME gave the album 9 out of 10 and 8 out of 10 respectively, with NME calling it a "sleek electro-tinged classic" and praising Oberst's more electric musical direction, saying it brought a "fresh strain of Bright Eyes record".
The album debuted at number 13 on the Billboard 200, and made it to number 7 on the Alternative Albums chart. The People's Key also reached number 46 on the UK Albums Chart.
All songs written and composed by Conor Oberst, except where noted.
|4.||"Approximate Sunlight" (Oberst, Nate Walcott)||4:24|
|6.||"A Machine Spiritual (In the People's Key)"||4:19|
|10.||"One for You, One for Me"||6:37|
|iTunes Pre-order Edition|
|Deluxe Pre-order Edition|
|2.||"In the Real World"||3:36|
A limited edition deluxe packaging edition contains mp3 file samples of various Saddle Creek artists.
- Conor Oberst - vocals, guitars, pianos and keyboards
- Mike Mogis - guitars, pedal steel, effects, programming and percussion
- Nate Walcott - synthesizers, pianos, organs and Mellotron
- Andy LeMaster - vocals on tracks 1, 2, 3, 4, 6, 8, guitar on tracks 4, 10, bass guitar on track 10
- Matt Maginn - bass guitar on tracks 1, 2, 3, 4, 5, 6, 7, 8
- Carla Azar - drums, percussion on tracks 2, 6, 8
- Clark Baechle - drums on tracks 1, 3, 4, 5, 7
- Shane Agsperen - drums on track 10, additional drums on track 3, additional percussion on track 2
- Laura Burrhenn - vocals on tracks 4, 7, 8
- Denny Brewer - shamanic vocals
Charts and certifications
|Australian Albums Chart||55|
|UK Albums Chart||46|
|Canadian Albums Chart||38|
- "The People's Key". Metacritic. Retrieved 8 February 2015.
- Allmusic Review
- BBC review
- BLARE Review
- Consequence of Sound review
- Drowned in Sound review
- Bright Eyes – Album Review: Bright Eyes – The People's Key (Polydor)
- One Thirty BPM review
- Paste review
- Pitchfork review
- Popmatters review
- Rolling Stone review
- SPIN review
- Sputnikmusic review
- Tiny Mix Tapes review
- Breihan, Tom. "Bright Eyes Return With New Album", Pitchfork Media, November 30, 2010, accessed November 30, 2010.
- NPR. "NPR First Listen: Bright Eyes — The People's Key", NPR, January 31, 2011, accessed January 31, 2011.
- Smith, Bethany. "Bright Eyes’ releasing The People’s Key February 2011", Popwreckoning, November 30, 2010, accessed November 30, 2010.
- "The People's Key Wins Best Art Vinyl 2011".
- "Chartifacts - Week Commencing: 28th February 2011". Australian Recording Industry Association. February 28, 2011. Archived from the original on March 1, 2011. Retrieved March 3, 2011.