I have wanted to listen to an album by Feist since I first heard her featured in that iPod nano commercial from 2007. This album starts off with a smoother sound that could almost be characterized as ‘jazz-lite’. With its acoustic bass and smooth percussion, I find this track to be solid, but an interesting choice for an opener. Track two is definitely more single material. The only way I can describe her sound is by using the word alternative; a term which has grown far too broad and vague over time. Regardless, it’s delightfully catchy. I like the vocals as well. I wouldn’t want to hear her voice on a regular basis, but it works well for this particular style. Three is My Moon, My Man. I particularly enjoyed the background vocals, which come in towards the end of this one. I also appreciated the sounds effects that enter after the fade out and lead directly into track number four. The Park is a track that is more stripped down and barer in nature. It almost has the feel of a folk or country ballad. It builds slowly until by the end, her voice is a raw, emotional wail. Track five starts with a slow, jazzy intro that reminds me of Fiona Apple. Naturally, I like everything about this track from the upright bass to the more relaxed sound to the lyrics themselves. Six is what sounds like an African choir with an electric synthesizer. Needless to say, I was taken aback by this abrupt shift in style. Later in the track, she even starts to rock a little bit, which provided a nice change of pace. Apparently, the song is based on an African children’s chant, the lyrics to which are quite interesting. Track Seven is called Past in Present and has a down right country feel to it. There is definitely an element of diversity to this album and Feist should be commended for that. Even if not every song is a complete success, substantial variety can go a long way. No matter the genre however, it’s clear she enjoys using handclaps as this is the third time she does so.
The second half of the album starts off with The Limit to Your Love. This track changes the pace yet again, and I enjoy it’s almost Motown feel complete with flute, piano, and sleek string arrangements. The vocals on this track remind me a little bit of Florence and the Machine. Nine is 1234. Obviously, I’m most familiar with this song as I have known it the longest. Even having heard it many times before, I am picking out new surprises like the banjo that comes in half way through. Its things like these that make this album so enjoyable. The horns that enter towards the end of the song are enjoyably reminiscent of the ones at the end of All You Need is Love. The tenth track, Brandy Alexander, is a solid song as well. This time, it was the lyrics that caught my attention. In this song she uses Brandy Alexander as a metaphor when describing her relationship to great effect. Actually, Fiest is pretty solid throughout the album lyrically speaking. I also enjoyed the end of this track as well. Eleven is Intuition. This track is softer and more relaxed in nature. I actually found it vaguely reminiscent of Nick Drake. While Drake stays subdued however, Feist brings in a chorus chant toward the end of this song. I can’t yet decide weather or not I agree with this decision. Either way, it’s nice to know that there is a contemporary artist out there who doesn’t mind going with a softer, more acoustic sound a couple of times on an album. Sometimes less is indeed more. Twelve changes the sonic direction yet again. This song is a difficult one to describe through written word. Her background vocals as well as a harp like sound provide a kind of rhythmic pattern over which she sings. Her lyrics are intriguing as well, describing a woman seeking her lover. Track thirteen is the final song. Feist’s vocals are once again reminiscent of Apple’s. Eirik Glambek Bøe makes a surprise guest vocal appearance on this number, providing a nice contrast to Feist’s higher voice. Overall, this track provides a nice finish to this album. Though How My Heart Behaves is quieter in nature, it works as a concluding track because of the somewhat reserved nature of this album.
I would say this album exceeded the already decent expectations I had for it. It shows a great diversity not only in instrumentation and dynamic, but in style as well. Feist shows promise in her ability as a writer lyrically and musically as well as her fearlessness for trying things new. She maybe no Fiona, but she may well be on her way.
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