Four years ago, Canadian singer-songwriter Feist jangled her way into mainstream consciousness when her indie hit "1234" was featured in a commercial for the iPod nano and then quickly rose to prominence through a deluge of accolades, including five Junos, a Grammy nod, and an album that sold over 2.5 million copies.
Now, after a brief hiatus, Feist returns with her fourth full-length album and proves that her fascinating blend of indie-folk-pop ingenuity is made for greater things than an Apple jingle.
Metals takes Feist in a deeper, darker direction than her previous tracks, pulling the listener into an introspective pool of undulating dynamics and plying almost-jazz beats.
While not without shortcomings — namely, a lack of differentiation, as nearly every track sounded almost the same — there is a subtlety in Feist's sound, a sense of monochromatic shades, the feel this is an album that should be listened to in solitude.
(That being said, however, over half of the tracks have that soft smoothness that inspire a near-certain that they will be looped over the buzzing speakers of an ambiance-infused coffee shop or bookstore.)
"The Bad in Each Other" opens the album with a spidery drumbeat and a leaping, almost-Celtic guitar riff that dance around each other, one tripping over the other until Feist breaks in with her lithe and uniquely delicate voice.
"A good man and a good woman can't find the good in each other / A good man and a good woman bring out the worst in each other" Feist sings heartily as the horns swell, the beat slows and the melody sighs.
It's a plaintive sense, but it sets the tone for the rest the album, as the second track strums its opening chords, and the listener is reminded of Feist's folk roots. "Bring them all back to life," she wistfully croons as the guitar pleads with the crashing cymbals and the choir rings in on the last chorus.
The mood does not lighten with "Caught a Long Wind," which has a long instrumental intro — a potential a mistake, as the symphonic accompaniment is a touch sleepy-sounding — but Feist's strong voice really takes center stage as she shows off its sleek whimsicality and mesmerizing richness.
The same can be said of the next track, "How Come You Never Go There?", as the single would be dull with its repetitive lyrics and plodding beat if it weren't for Feist's smooth voice and her masterful precision in controlling its subtleties in the swell-and-fade of her complicated dynamics.
"A Commotion" is the album's only up-tempo song, and it says a lot about Feist to realize that this is also the album's weakest song.
As much as she tries, there is nothing that stands out about the track save its anomaly of a faster tempo, and the elements she throws together (menacing strings, an emphatic male choir) come off as cloying and abrasive rather than dramatic.
Conversely, "The Circle Married The Line" is one of the album's strongest tracks. It's premise is quirky, lighter than the rest of the album, and the track is almost smile-inducing with its soft lyrics, trilling strings and lilting instrumentals.
It is at this point in the album where Feist begins to fall into a flat, monotone hole, as "Bittersweet Melodies," "Anti-Pioneer," "Undiscovered First" and "Comfort Me" have very little distinctions among the three of them. They straddle the line between lethargy and despair, all a little dark, with a slightly messy rhythm and warbling melody.
There is a bright spot smog them, as the peppermint sweet "Cicadas and Gulls" brings the album back to life, though, with its simple instrumentals and lackadaisical tune.
"Get It Wrong, Get It Right" closes the album on a sighing, wistful and surprisingly hopeful note as it showcases the album at its best with its crestfallen piano, mellow percussion and quiet lyrics.
Metals is not an easy listen, as subtle dynamics and thought-provoking lyrics demand the listener's complete attention.
But Feist's Metals is surely music to be grappled with; Between her exceptional musical arrangements and her vocal versatility, and Feist's newest and most mature album yet may require multiple listens, for one can fully unearth the subtle beauty tucked into each dark corner.
