September 28th, 2011 | Features | 0 Comments
Feist‘s new album Metals hit the web today in streaming form and I’ve listened to it. And it’s really good. I wasn’t sure if she could meet expectations after The Reminder – and the first single “How Come You Never Go There” didn’t really convince me otherwise – but Metals is so good it actually makes the eclectic The Reminder seem almost like a sketchbook by comparison.
Metals takes all of the things that made The Reminder great – the smooth but playful aesthetic, the big melodic pop songs alongside intimate acoustic ballads, Feist‘s angelic vocals – and seems to know exactly how to use and get the most out of them. It’s also a more consistent album in terms of feel and quality, though the highlights can be found towards the middle (as was the case with The Reminder).
Despite her fame, the sound hasn’t been smoothed out at all – if anything it’s gotten a little edgier, more bluesy and rustic. There’s no radio sheen, nor is there any single as clear cut as “1, 2, 3, 4”. My favourite song is actually “A Commotion” which could never make the radio because of its weird male-choir bit. “The Circle Married The Line” might be that radio banger, with its easy melody, highway rhythm, tinkling production, and pretty (though understated) chorus. Even so, it would be a stranger amongst the company of Rihanna and Lady Gaga.
Metals isn’t perfect – it slows down a bit more than I’d like towards the end, but that doesn’t mean the quality of the writing drops much. But it is most definitely a masterwork, with Feist perfecting the sound she introduced us to with The Reminder, re-proving that her status as one of the few indie-rock superstars is well deserved.