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Track Listings
| 1. The Bad In Each Other |
| 2. Graveyard |
| 3. Caught A Long Wind |
| 4. How Come You Never Go There |
| 5. A Commotion |
| 6. The Circle Married The Line |
| 7. Bittersweet Melodies |
| 8. Anti-Pioneer |
| 9. Undiscovered First |
| 10. Cicadas And Gulls |
| 11. Comfort Me |
| 12. Get It Wrong, Get It Right |
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Customer Reviews
Most Helpful Customer Reviews
11 of 11 people found the following review helpful
Format:Audio CD
Feist is one of my two favourite contemporary female singers - Joan Wasser [Joan As Policewoman] being the other - and the Canadian songstress' first release since 2007's superb and acclaimed 'The Reminder' provides more of that same excellence. The tracks vary from the cleverly orchestrated by - to name only a few - horns, violin, broken-fuzzed guitar, various percussion, handclaps, multi-tracked harmonies, and ambient noises, to those that focus on Feist's at times vulnerable but always beautifully toned voice: from whispers to repeated expulsions of breath to perfectly pitched melodies. It is overall a gentle and sweet set of tracks with pop and newfolk sensibilities to the fore, but always her distinctive vocal anchoring the whole.
2 of 2 people found the following review helpful
Format:Audio CD
I can't say for sure, but I'm fairly sure that Leslie Feist was sad when she made this album.
There's always been a hint of the bittersweet in Feist's folk-jazzy-pop music, even though her last album was a sparkling, colorful affair. But her fourth solo album "Metals" is a far more bittersweet, raw affair, like listening to someone's heart breaking under a moonlit sky in the country.
She sets off with the percussive, country-flavored "The Bad in Each Other," an uneasy bleak song that makes you think of dark rooms and destructive passion. "We held the same feelings/at opposite times/A good man, a good woman/can't find the good in each other," she murmurs.
After that, she slips into a string of soft, slightly sad songs -- the murky drift of "Graveyard," the starlit ballad "Caught a Long Wind," the jazzy "How Come You Never Go There?", the string-soaked meditative "Anti-Pioneer" and its string-soaked crescendo, the heartrendingly lovely "Undiscovered First," and the more hopeful, haunting finale "Get It Wrong, Get It Right" ("We'll go, can hope/have to hope...")/
But she also explores some more.... off-kilter music. "A Commotion" eases us in with the sound of someone repeatedly clamping down on piano keys, only to be swept into a surreal rock of strange voices, bizarre noises and gleeful darkness. And "Cicadas and Gulls" is a proggy bulk that slowly rolls through your ears. It's strangely hypnotic, but it's also uncomfortably out-of-step with the other songs.
I adored "The Resident," and all the different pop styles that Feist was trying on for size. But honestly, it feels like "Metals" is almost the polar opposite -- while some of the musical stylings are similar to Feist's previous works, this one is far softer, sadder and more contemplative.
She sticks mostly to the jazzy-folky-pop sound of her previous albums, but cloaks the acoustic guitars in a sheen of nimble swirling pianos, keyboard, toy piano and great silken masses of strings. And her slightly husky voice floats over the whole thing... except when she yowls, drones or soars. It sounds like it should be lulling -- and sometimes it is, such as in "Graveyard" -- but often Feist throws in something twisted or unnerving when you don't expect it.
There's a sadness and darkness in Feist's "Metals," but it doesn't make the album any less beautiful in execution. I don't think we'll hear any of these songs in iPod commercials, though.
There's always been a hint of the bittersweet in Feist's folk-jazzy-pop music, even though her last album was a sparkling, colorful affair. But her fourth solo album "Metals" is a far more bittersweet, raw affair, like listening to someone's heart breaking under a moonlit sky in the country.
She sets off with the percussive, country-flavored "The Bad in Each Other," an uneasy bleak song that makes you think of dark rooms and destructive passion. "We held the same feelings/at opposite times/A good man, a good woman/can't find the good in each other," she murmurs.
After that, she slips into a string of soft, slightly sad songs -- the murky drift of "Graveyard," the starlit ballad "Caught a Long Wind," the jazzy "How Come You Never Go There?", the string-soaked meditative "Anti-Pioneer" and its string-soaked crescendo, the heartrendingly lovely "Undiscovered First," and the more hopeful, haunting finale "Get It Wrong, Get It Right" ("We'll go, can hope/have to hope...")/
But she also explores some more.... off-kilter music. "A Commotion" eases us in with the sound of someone repeatedly clamping down on piano keys, only to be swept into a surreal rock of strange voices, bizarre noises and gleeful darkness. And "Cicadas and Gulls" is a proggy bulk that slowly rolls through your ears. It's strangely hypnotic, but it's also uncomfortably out-of-step with the other songs.
I adored "The Resident," and all the different pop styles that Feist was trying on for size. But honestly, it feels like "Metals" is almost the polar opposite -- while some of the musical stylings are similar to Feist's previous works, this one is far softer, sadder and more contemplative.
She sticks mostly to the jazzy-folky-pop sound of her previous albums, but cloaks the acoustic guitars in a sheen of nimble swirling pianos, keyboard, toy piano and great silken masses of strings. And her slightly husky voice floats over the whole thing... except when she yowls, drones or soars. It sounds like it should be lulling -- and sometimes it is, such as in "Graveyard" -- but often Feist throws in something twisted or unnerving when you don't expect it.
There's a sadness and darkness in Feist's "Metals," but it doesn't make the album any less beautiful in execution. I don't think we'll hear any of these songs in iPod commercials, though.
1 of 1 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
Feist creates songs like a sculptor (or in her case 'sculptress') shaping a work of art,with many dimensions,textures and balances of presentation. I truly find her musical style fascinating. The very intelligent musical syncopation is ,in itself, really absorbing let alone the use of harmonies and unusually inspired instrumentation to compliment her singing and guitar work. I can't knock it one bit. Artistically beautiful music of the highest calibre. 'Metals' is a very very appealing treat for the ears and mind.
Eamonn
Eamonn
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Most Recent Customer Reviews
Great! But even better live
The Jools Holland 'Later' TV programmes are repeated constantly here in Germany on a cultural channel,
and so quite recently I happenend to see a part of an October 2011... Read more
and so quite recently I happenend to see a part of an October 2011... Read more
Published 7 days ago by Helmut Mummenbrauer
Not as good as her last
All albums take a few listens until you've got them. This one is taking too many. We expected a lot more, given the rave reviews.
Published 25 days ago by martinalex
Excellent. Her best. So far.
Serious. Mature. Passionate. Assured. Stirring.
No child-friendly pop songs to speak of on this album. Read more
No child-friendly pop songs to speak of on this album. Read more
Published 1 month ago by Peter Cathedral-Jones
Album of the Year 2011
Bold sounds, strong melodies - it's almost like going back in time. A very good record with standout tracks How Come You Never Go There, and Graveyard;and other highlights such as... Read more
Published 5 months ago by Mr. A. D. Bickerstaffe
Good original album
Saw her on Later and was impressed. A good album with only a couple of weaker tracks. Most are top class.
Talented and experienced - and original.
Talented and experienced - and original.
Published 5 months ago by Stuart
Stunning and charming
This woman is 100 percent gold!So happy to have chanced upon her amazing releases,they are all so different,yet all so brilliant. Read more
Published 5 months ago by steady eddy
Feist: Metal
I did not find this album as easy on the ear as the first one. I like it but it has taken a few listennings to really appreciate.
Published 5 months ago by bobbear
F factor
I saw Feist on BBC's Later a few months ago and was bowled over by her. Intelligent lady and great songs. Just listen to Metals or any of her other albums and you'll hear.
Published 6 months ago by D Deacon
She's lovely but...
This is a grower. Not as upbeat as some previous work. You can't imagine many of these on your disco playlist.
Published 6 months ago by noel s
Awesome
She keeps getting better and better - saw her in concert recently in London - absolutely amazing, a fantastic experience. great CD.
Published 6 months ago by Peanut
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