Feist

Almost four years since The Reminder and its hit single “1234” brought Leslie Feist to mainstream attention, she reemerges with Metals, an organic and dynamic progression of her music during her varied 15 year career. Those looking for another irrepressibly catchy single for the NPR set will be disappointed, but there’s plenty to enjoy on Metals, a return to the typical folk and blues undertones of Feist’s previous albums.

Her voice coupled with soft strings, woodwinds and simple vocal harmonies on songs like “Bittersweet Melodies” and “Cicadas and Gulls” establishes a natural and pensive atmosphere throughout. Her soft croons take on an airy, echoing quality that floats along peacefully, until the descent of dramatic crescendoes and thunderous outbursts. Feist’s austere vocal swells in “A Commotion” and “Comfort Me” foil the smooth sound she is famous for, adding diversity without losing cohesion. Unlike The Reminder, Metals effortlessly transitions from one melody to the next.

The album is deeply personal; on the autobiographical track “Anti Pioneer,” Feist reflects on “singing sappy songs about what went wrong,” and aims toward the future. Vivid allusions help to develop an intentionally naturalist aesthetic: “Whispers in the grass/ Under slow dancing trees/ Birds are telling me stories/ Saying you were meant for me.” And it feels refreshingly selfless when her voice becomes indistinguishable among the climactic choruses on “Undiscovered First.” This creates an identifiable theme on Metals; it is personal enough to communicate intimate autobiographical details, but expansive enough to relate Feist’s connection to human community and nature.

Metals expounds upon the styles explored in Let It Die and The Reminder, but lacks the genre-hopping of the former and the standout single of the latter. But the decision to pursue cohesion and balance instead of producing loosely tied singles illustrates Feist’s disinterest in courting pop audiences.