Bright Eyes “The People’s Key” (Universal)
Zuweilen hat man ja als Rezensent das Problem, den richtigen Eintieg zu finden und muß dann – selbst oft genug praktiziert – fadenscheinige Vergleiche ziehen oder haarsträubende Geschichten zusammenklittern, über deren Wahrheitsgehalt man besser kein zweites Mal nachdenkt. Bright Eyes machen es einem da recht einfach, luden sie doch vor einiger Zeit ihre nicht gerade kleine Anhängerschaft per Videobotschaft zur fröhlichen Prelisteningparty.
Nun kann man sich vorstellen, dass es für einen eingefleischten Bright-Eyes-Fan abgesehen vom tatsächlichen Live-Erlebnis kaum etwas Erstrebenswerteres gibt, als his idols around fifty minutes to observe how they listen to their own music. Anyone with unconditional passion shall not be allowed, at least something to smile at the sight of students party setting in which the guys from Nebraska with candlelight and - of course - plenty of red wine to the sounds of their new work, listen to "The People's Key" while the lyrics as in a karaoke bar on a screen behind the record player (plenty of oldfashioned) aufwärtszuckeln. Though, seriously, it seems Bright Eyes with the date not to take obvious permanently present remains only Shatzi Shepherd, the rest of the band shines through constant door rattle and talks openly during their presentation - from reverent devotion no trace.
you believe the trade press, but this is quite appropriate. If you have heard the record in full, you at least knew that Conor Oberst has managed a rather decent indie rock record, one of the better, of course. What is striking about the conservative humor with which the band goes to work, the band so that one could not walk properly for years with their holy young men seriously on the mind. Not only because Colonel past swings in movies targeted at a late period, the complete device on the camera lens, which are ten songs, with few exceptions, remarkably loose, relaxed compositions - the lilting "Shell Games" for instance, or "Jejune Stars", which with a Monsterriff confused and then it just wants to play ("So I go umbrella under my arm into the green of the radar, how did I get so lost? "). In "Haile Selassie" already is the title of a blast, Colonel scores with a relaxed age of wisdom ("I seen stranger things happen before, man"), "Triple Spiral" they manage a veritable rock fragments.
course there are those dark, almost biblical monologue chunks at the beginning, one can believe that they had accidentally hit the shelves Pink Floyd, of course, there it is the great sad moments. Who in pieces such as the touching "Ladders Song" ("No one knows where the ladder goes, you're gonna lose what you love the most, you're not alone in anything, you're not unique and dying") no movement shows for which they are simply not made. But here, as in the final (and stunning) "One For You, One For Me" manages the Bright Eyes a balance between high and low, which used all too often dumped into Rührseelige. A line of text such as "I want to fly into your silver ship, let hang Jesus and Buddha sit" can be one, because if it does need to reconcile with everything on this album. Paul David Hewson, eat your heart out!
http://www.thisisbrighteyes.com/
Zuweilen hat man ja als Rezensent das Problem, den richtigen Eintieg zu finden und muß dann – selbst oft genug praktiziert – fadenscheinige Vergleiche ziehen oder haarsträubende Geschichten zusammenklittern, über deren Wahrheitsgehalt man besser kein zweites Mal nachdenkt. Bright Eyes machen es einem da recht einfach, luden sie doch vor einiger Zeit ihre nicht gerade kleine Anhängerschaft per Videobotschaft zur fröhlichen Prelisteningparty.
Nun kann man sich vorstellen, dass es für einen eingefleischten Bright-Eyes-Fan abgesehen vom tatsächlichen Live-Erlebnis kaum etwas Erstrebenswerteres gibt, als his idols around fifty minutes to observe how they listen to their own music. Anyone with unconditional passion shall not be allowed, at least something to smile at the sight of students party setting in which the guys from Nebraska with candlelight and - of course - plenty of red wine to the sounds of their new work, listen to "The People's Key" while the lyrics as in a karaoke bar on a screen behind the record player (plenty of oldfashioned) aufwärtszuckeln. Though, seriously, it seems Bright Eyes with the date not to take obvious permanently present remains only Shatzi Shepherd, the rest of the band shines through constant door rattle and talks openly during their presentation - from reverent devotion no trace.
you believe the trade press, but this is quite appropriate. If you have heard the record in full, you at least knew that Conor Oberst has managed a rather decent indie rock record, one of the better, of course. What is striking about the conservative humor with which the band goes to work, the band so that one could not walk properly for years with their holy young men seriously on the mind. Not only because Colonel past swings in movies targeted at a late period, the complete device on the camera lens, which are ten songs, with few exceptions, remarkably loose, relaxed compositions - the lilting "Shell Games" for instance, or "Jejune Stars", which with a Monsterriff confused and then it just wants to play ("So I go umbrella under my arm into the green of the radar, how did I get so lost? "). In "Haile Selassie" already is the title of a blast, Colonel scores with a relaxed age of wisdom ("I seen stranger things happen before, man"), "Triple Spiral" they manage a veritable rock fragments.
course there are those dark, almost biblical monologue chunks at the beginning, one can believe that they had accidentally hit the shelves Pink Floyd, of course, there it is the great sad moments. Who in pieces such as the touching "Ladders Song" ("No one knows where the ladder goes, you're gonna lose what you love the most, you're not alone in anything, you're not unique and dying") no movement shows for which they are simply not made. But here, as in the final (and stunning) "One For You, One For Me" manages the Bright Eyes a balance between high and low, which used all too often dumped into Rührseelige. A line of text such as "I want to fly into your silver ship, let hang Jesus and Buddha sit" can be one, because if it does need to reconcile with everything on this album. Paul David Hewson, eat your heart out!
http://www.thisisbrighteyes.com/
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