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I can't agree more that this is a more mature and contemplative album. It was definitely not what I was hoping for, but I think fans of Feist would not be too disappointed with the change. The fun, quirky and warmth of the Feist songs we love have simply taken a turn for the contemplative, idiosyncratic, and adopted a cooler edge. I read in an interview that Feist had previously contemplated naming the album Mettle but settled on Metals instead. Both are great titles I think, and this album with its new and surprising sound certainly showcased Feist's mettle. It seems to suggests that Feist's music is taking a new direction, but it is one that I will follow. This album has brought me to strange unexpected places, but overall, I say the journey has been really rewarding.
Having recorded a song quite as ubiquitous as "1234" which when attached to an advert for the I Pod Nano helped shift the little sound units by the millions, tends to be the defining "fact" of Leslie Feist's career thus far. Alternatively very clever people who read Amazon reviews know that this joyous little pop song is the proverbial tip of a very large iceberg when it comes to Feist's talent and what we have with her new album is the productions of some very powerful song craft that leads to the production of very precious metals.
Straddling the world between her indie roots in the great Canadian band Broken Social Scene and appearances on Sesame Street are all taken in her stride by Leslie Feist although on this new album there is too much for the Muppets to sing about. Indeed "Metals" is a darker beast than its predecessor (which also had its moments) but ultimately an altogether stronger and more mature album. It opens with the pounding "The bad in each other" a great folky song which sees Feist almost mixing the Fleet Foxes with Kate Bush to great effect. The next two songs are amongst the most haunting on the album and show her emerging as a major songwriting talent. First up is "Graveyard' with a tender vocal and an almost Tom Waits style backdrop full of horns and an extended exhortation to the inhabitants of the burial ground to "Bring them all back to life". The third song "Caught a long wind" has that sort of icy beauty that Sufjan Stevens has made such a trademark and is a stunning highlight. Alternatively "How come you never go there" is a light soulful blues ballad which stands in sharp contrast. The pivot of the album is "A Commotion" a thumping anthem of indie pop full of deep male chants, violins and thumping drums.Read more ›
Most Recent Customer Reviews
this album is a classic in my book and sounds amazing on vinylPublished 1 month ago by ignacio guzman
I fell in love with this album upon hearing the first few seconds of the first song.Published 15 months ago by Pam McMillin
Solid album for Canadian singer/song writer Leslie Feist. The album might not be what you're expecting if you came on board to listening to Feist after hearing her song... Read morePublished 16 months ago by Brian Wong