Feist’s new album, Metals, due out Oct. 4, is easily one of the two most hotly anticipated releases of 2011. The other, with apologies to Drake, is the new compilation CD by Toronto’s Nash the Slash, dubbed The Reckless Use of Electricity.
Feist-a-nistas (?) have a chance to preview the album today by giving up their email addresses at http://www.listentofeist.com/metals. Lucky listeners will then be sent a link to a top-secret online lair where Metals awaits in all its Feist-oriffic-ness.
Madam Feist has been stoking the hype fires by releasing some clever, oh-so-artsy video vignettes. And, for the most part, it’s done the trick. Not that she needed the help. She hasn’t released an album since 2007’s The Reminder, but she’s managed to stay relevant in the meantime with some film appearances, including her own documentary entitled Look at What the Light Did Now, directed by Anthony Seck (and featuring that great duet with Little Wings).
We checked it out, and as a whole, it is Feist’s deepest record. It doesn’t have some of the bells and whistles from previous efforts; there’s no Feist-guitar-goddess rock-out sessions; and you won’t find the big songs — the “Sea Lions” and numbers like that — which could blow the roof off an arena. This is a different animal. Feist and her voice are front and centre with far less window dressing. And that’s a wonderful thing. It does have plenty of texture, plenty of touching moments and lots of upbeat, fun numbers. I can’t find a track on here suitable for a return to Sesame Street, but I think that’s the point.
Feist plays Massey Hall in Toronto on Dec. 1. Good luck getting a ticket.
Here’s a breakdown of the tracks and our immediate reaction as we were listening along:
The Bad in Each Other. Funky muted drumbeats and guitar start us off with some easy, breezy, beautiful Feist vocals. It gets a bit mushy in the middle with the horns and strings, but comes back strong at the end with some nice harmonies and soaring vocals.
Graveyard. Piano and vocals provide the essentials in this charming track. It can pretty much be summed up with the line “bring ‘em all back tonight.” No, we’re not talking anything supernatural, just an exploration of family and history and putting it all in perspective.
Caught a Long Wind. Oh man, this is a good one. So sparse, so romantic. Gorgeous vocals over piano, light guitar strums and some nice percussion — very nature-y, the lyrics dripping with symbolism.
How Come You Never Go There. This is probably the track that is most reminiscent of Feist’s early efforts. Traditional band arrangement, clever refrains, working out relationship issues, whatever. My least favourite song.
A Commotion. A cool opening bodes well, then the song really picks up and slows down again with some righteous synth/horn noise, and up again with a booming backbeat. Wow, this song is all over the place; it totally fits the title. I’ll go artsy and call this a pastiche.
The Circle Married The Line. There’s a chill vibe on this oddly-named track, and the Feist vocals have less inflection and warbles than usual. Dude, you should totally sing like this more often! Some nice string action on this one. “It is as much what is and what it is not,” getting all introspective. The importance of understanding our own paths, where we came from, where we’re going. Totally deep: “All we need is a horizon line, get some clarity, follow the signs.” I dig it.
Bittersweet Melodies. “Whispers in the grass, under a slowing dancing tree.” Ahh, that’s so nice. Nothing too special about this one, but it’s solid. A good flourish close to the end helps.
Anti-Pioneer. Bluesy opening riff, mellow tune. Feist has played this live for a while, so some will be familiar with it.
Undiscovered First. WTF? Speeding up and slowing down for what reason? Okay, it gets better. Nice harmonies, love the tambourine (people should totally bring that back, you read it here first!). Oh yeah, I can dig those harmonies. Four or five people? Lovely, and Feist yelling “ha” off mic. Oh hell, it gets even better. Yeah, this is the best song by far so far. People are going eat this one up.
Cicadas and gulls. A nice folky number. The harmonies are pleasing and not at all typical. Strumming the old geetar.
Comfort me. “When you comfort me, it doesn’t bring me comfort actually.” Really nice change of direction after the first couple meetings. Pounding beats, strong vocals. What the hell are they saying? “Eke kee kee…” Okay, that’s a bit odd, but I can go with it. Return to the opening line at the end a nice touch. This one is very good.
Get It Wrong, Get It Right. Great way to close it out. Sniffle, sniffle. Feist is a wonderful human being.
