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Feb 25, 2011There's not a lot fundamentally wrong with The People's Key; it's just that we know Bright Eyes can do better.
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Feb 23, 2011The musicianship is outstanding, as one would expect, and Mike Mogis' production is, as usual, flawless, but the songs and direction simply aren't there.
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Feb 16, 2011It's funny: after all that growth, Conor Oberst chooses to end his Bright Eyes project right back where it all began-with an unapologetic declaration of solipsism.
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Feb 16, 2011Every line is laid with the rich sense of rhythm and texture that he's mastered over the years, but it still adds up to very little: a wildly spiritual record without any spirit.
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Feb 16, 2011This overflowing sense of self has done more to define Oberst than anything else, and it continues on The People's Key, spilling into the contemporary malaise he invokes and the often brilliant poetic associations of which he's sometimes capable.
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Feb 16, 2011The arrangements are pleasurable enough, less rootsy than before, with some skilled use of orchestration; but it's a shame to find such a gifted songwriter sounding so gullible.
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Feb 15, 2011Ultimately it amounts to two decent tunes in the singer-songwriter pop idiom, padded out with angsty filler and hot air.
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MojoApr 6, 2011Conor Oberst regroups with the band that made him. [March 2011, p. 94]
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UncutFeb 15, 2011Problematically for a singer-songwriter, Oberst drops personal feelings, wry asides and hip references equally lightly--ultimately, you're disinclined to believe anything he says at all. [Mar 2011, p.85]
User score distribution:
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Positive: 35 out of 41
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Mixed: 6 out of 41
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Negative: 0 out of 41
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Feb 15, 2011
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Jan 2, 2012
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Aug 30, 2011