Feist soars into 'Metals' with the sweeping folksy love song 'The Bad in Each Other', which immediately shifts to the contagiously dark 'Graveyard'. She sings with the confidence of a pop starlet one second and pulls it back into her own unique, mysterious corner of the world the next. The transition is barely noticeable, such is the ease with which she slips back and forth.
As the album progresses, she sticks mainly to her native soft indie pop and maintains a fairly steady, easy-to-follow pace for the majority of the record which manages to stay positive through its 12-track entirety.
'Bittersweet Melody', 'Comfort Me' and 'The Undiscovered First' are all little ditties that are easy to fall headlong into and get lost in, but it's in the more complex songs where this record truly goes from good to great. 'Caught a Long Wind' is ethereal; it's acoustically based but puts an enormous emphasis on Feist's breathtaking vocals. Everything is so perfectly placed and balanced; it's one that's going to stick. The same goes for album closer 'Get It Wrong Get It Right'. Not only does it wrap up a solid bunch of songs, but everything is crafted so delicately that it feels as if any extra sound added to the equation would snap the intricate framework Feist has created. It's that sort of writing that makes her so universally likeable.
After skyrocketing to worldwide fame with the single "1234", making her next move (this release) was very important. The stage was set and ready for a much bigger audience, and she has knocked it out of the park while still remaining true to her roots.