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Fevers & Mirrors


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Audio CD, May 30, 2000
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Bright Eyes - Hot Knives

Biography

Since 2006 the once revolving cast of Bright Eyes players has settled around permanent members Conor Oberst, Mike Mogis and Nathaniel Walcott, with additional musicians joining them in the studio and on tour. Fully realized and bursting with charisma, The People’s Key is an assured and accomplished album, artfully arranged and filled with the engaging and mesmeric songwriting for which ... Read more in Amazon's Bright Eyes Store

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Frequently Bought Together

Fevers & Mirrors + I'M WIDE AWAKE, IT'S MORNING [Vinyl] + LIFTED or The Story is in the Soil, Keep Your Ear to the Ground 180 gram 2xLP [Vinyl]
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Product Details

  • Audio CD (May 30, 2000)
  • Number of Discs: 1
  • Label: Saddle Creek
  • ASIN: B00004TRWE
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (135 customer reviews)
  • Amazon Best Sellers Rank: #45,929 in Music (See Top 100 in Music)

1. A Spindle, A Darkness, A Fever, And A Necklace
2. A Scale, A Mirror And Those Indifferent Clocks
3. The Calender Hung Itself...
4. Something Vague
5. The Movement Of A Hand
6. Arienette
7. When The Curious Girl Realizes She Is Under Glass
8. Haligh, Haligh, A Lie, Haligh
9. The Center Of The World
10. Sunrise, Sunset
11. An Attempt To Tip The Scales
12. A Song To Pass The Time

Editorial Reviews

Customer Reviews

I recommend buying the cd, as it is one of my absolute favorites.
Ali
This cd just makes me think of...of...how depressing everything can be, which is good.
t
Conor has a wonderfully expressive voice that naturally flows from emotion to emotion.
asteadyrain

Most Helpful Customer Reviews

78 of 86 people found the following review helpful By M. Wells on June 6, 2005
Format: Audio CD
Judging by the reviews on Amazon for Connor's latest releases, there has been an incredible amount of backlash against Bright Eyes. Yes, the Jay Leno performance and the whole Winona thing were a bit much. And yes, it is insulting to Bob Dylan to be compared to Connor Oberst or anyone other than Bob Dylan, but come on.

If Connor is now considered mainstream, then I am hard-pressed to find an artist more emotive, but not necessarily sincere, than he is in the wasteland that is pop music today. I remember being in college and being given this record by a dear friend who was from Omaha and attended the same high school as Oberst. Connor's music was very dear to him and I decided to give Fevers a try. What I discovered was something truly special.

This album changed my perspective on music and broadened my horizons past classic and radio-friendly rock into lots of truly wonderful indie music. This is coming from a guy who used to believe that Nirvana's In Utero was the best album ever produced in the 90's (it is damn good though).

I believe Connor was only 19 when he wrote and recorded this material and I will be surprised if he ever surpasses it. From the first track through the last, there is nothing on this album that I would ever skip over. I don't know if this says more about me than I'd care to admit, but I'm 24 now and I still relate to this material.

If you've ever been clinically depressed, then you may instantly connect with this album because it is sincere in it's depression, as others have accused it of faking. They've obviously never been "there". I agree with a previous reviewer, I own many, many albums and this will always be placed near the top of my collection.
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21 of 22 people found the following review helpful By Titus Livius; the Record and the Chronicle. on May 3, 2005
Format: Audio CD
I imagine that one day in the eventuality of history some person will rediscover Conor's work and give it the respect it deserves. But I fear we will have to suffer through the incredibly uninformed and confused reviews of our lesser contemporaries until then. This is in my opinion the best Bright Eyes album offered to date. Like other reviewers, I discovered it late, after a gift of "I'm Wide Awake, It's Morning" sparked my interest in the band, or - more appropriately - the man.

It is everything a great album should be: haunting, brilliantly written, passionately performed. Criticism of Conor's voice is just, but only if you miss the point: nobody, nowhere, has any illusions about his voice. Some people, like myself, genuinely like it for its unique and honest qualities. But we'll be the first to admit that it wouldn't meet even the low bar set for American Idol contestants. That's the whole point of the appeal. While many musicians are 8/10's voice and 2/10's substance, Conor Oberst is 7/10's substance and 3/10's voice.

One reviewer ignorantly compared him to Eliot Smith, whom he shares zero similarities with. They're missing the point. Calling the music on Fevers & Mirrors too embellished and not honest is a joke - how many contemporary singers are really feeling what they're singing or shape their lyrics from their experiences? Not many. Conor has openly stated that he makes up stories to make his songs passionate; he fancies himself some kind of narrator to a great tragedy. Some of his songs are based around his own experiences, but he is by and large just playing a part in his music. Criticism of that, like the other, is missing the point. What he does isn't "lying" (for it to be such, he would have to claim his brother was really drowned in a tub, etc.
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16 of 18 people found the following review helpful By Mats on January 7, 2001
Format: Audio CD
If you're like me, you have grown bored of all the Sebadoh clones out there by now. All the "I-will-out-lo-fi-your-ass!" bands out there have mostly brought the genre a bad name like sequels have soiled horror films in general. Most of the true music lovers out there have probably given up on the genre when the industry started popping out CDs like "Now THAT's indie rock Vol.6". But in the few recent years a few true gems have emerged from all the dust that has accumulated on the racks of your favorite local music store. One of these gems and the ones who, according to me, really bring new spirit to the music is Bright Eyes.
Yes, some of the songs are REALLY lo-fi (television in the background?) and the frail vocals and "dollar-store-budget" production give it the standard sound. But, dear Jesus, how innovative the end result is! Amidst the beautiful melodies and the powerful, poetic texts we are offered moments of pure brilliance not usually found on this type of recording which elevate the album (and the group for that matter) over the rest. The possibilities with sounds and voices are really explored to the fullest and sometimes extremely inventive ("An attempt to tip the scales" is really the song one should hear to that affect. To witness the track go from a melodious song to a disturbing interview is amazing). None of it is flashy and these great moments punctuate the album to the tee, making it a beautiful listen, without a moment of boredom, from beginning to end.
Describing the Bright Eyes sound on the other hand, is no easy task. The best possible comparison I could make is to the films of Harmony Korine. If any of you are familiar with and enjoy his films, you will truely feel at home listening to Bright Eyes.
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