Sunday was the last day for Feist‘s Multitudes residency show at the National Arts Centre. Commercialism may be off the menu, but Feist fans will not be disgruntled with this vigorous, consuming sound. Feists Multitudes at National Arts Centre. Overall Metals is weightier than its more whimsical predecessor. Blander songs like “Bittersweet Memories” and the “Mushaboom”-esque “The Circle Married the Line” are the most likely to serve as background music in ad campaigns.
#LESLIE FEIST METALS FULL#
“Cicadas and Gulls” is full of a scratchiness which turns to anger in a later track, “Comfort Me”. The solitude of Feist’s retreat from public view pervades. “Caught a Long Wind” is the standout track, with assured melodic resonance and only guitar and piano (and a few hand claps) to support Feist’s vocals. But overall the reference is caught up in lyrics about wildlife and nature - most of which seem to be attacking her in some way. The title is supposed to refer to a return to earth and the elements, which Feist has represented with percussive clanging. Replete with hand claps, male vocals and the occasional roar of electric guitar, the album is nevertheless sparse. But the core impact of loneliness, outward seeking and dissatisfaction is painfully penetrating this time. The new material is just as reflective and sadness is still the prevailing theme. Apple would never have chosen the now ubiquitous “1,2,3,4” to advertise its iPods had the song not spoken of romance, cut grass and girlishness. The Reminder was full of chirpy songs with lovelorn refrains and breathlessly whispered longing. It is rockier, more melancholy and doesn’t have the same commercial charm as her last record - which is probably quite deliberate.