Don't get confused when you hear some type of "shaman" commenting on how humans came to be, the cosmos and Hitler on The People's Key, Bright Eyes' first studio album in four years.
Exploring different types of religion and beliefs is something Conor Oberst's been doing for a while; just remember that 2007's Cassadaga was named after a spiritualist community in Florida and you'll be set to get through this album. It's kind of like an extension of that disc's themes of spirtualism and mysticism.
Musically, The People's Key is much more rock-centred than some of Oberst's recent work, both with Bright Eyes and with Monsters Of Folk and his Mystic Valley Band. And it takes on a subject Oberst hasn't tackled before: Rastafarianism. The People's Key is peppered with references to Jah, "I and I," and one of its tunes is even called "Hallie Selassie."
While opening track "Firewall" and closer "One For You, One For Me" are six-minutes-plus, they've wisely been used as bookends for an album that mostly keeps things pretty concise.
Tracks like first single "Shell Games" and "A Machine Spiritual (In The People's Key)" do a good job of grabbing the listener. Spiritual themes continue on the piano-driven "Ladder Song" (which may be a reference to the biblical Jacob). Unfortunately, it's a bit too morose and doesn't really fit with the rest of the disc.
A major criticism of Oberst's work is it's stylistically all over the place. Ultimately, though, is Oberst's most focussed and best work since 2005's I'm Wide Awake, It's Morning.
Source: http://www.chartattack.com/reviews/2011/feb/24/bright-eyes-%E2%80%94-the-peoples-key
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