On October 4th, Feist returns with her highly anticipated new album, Metals, out on Cherrytree/Interscope. It's the follow-up to her 2007 breakout The Reminder. Recorded in Big Sur, California, Feist co-produced the album with longtime collaborators Chilly Gonzales and Mocky, as well as newcomer Valgeir Sigurðsson (Bjork, Bonnie "Prince" Billy) Metals will mark Feist's celebratory return to the world stage. Like The Reminder, this album is astoundingly intimate, yet often exuberant; rife with transcendent and unforgettable pop gems. The album is being teased with 12 unique vignettes, each hinting at a different element of this stunningly beautiful, sublime record. Fans can follow their release on listentofeist.com. The videos allow the fan to watch Feist, Gonzales, Mocky, and Sigurðsson at work on the album, and hear a snippet of new music.
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MCLACHLAN SARAH CLOSER: THE BEST OF
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When the Red Hot Chili Peppers first appeared smeared in neon body paint with socks dangling precariously from their wieners, even the most faithful funk-metal convert couldn't have conceived they would be around some 20 years later, carrying on in much the same fashion. Despite a long history of tragedies and personnel upheavals, the California quartet's eighth album is mostly business as usual--and business, as usual, is quite good. The title track, "By the Way," is a powerful, bruised piece of slap-bass and intermediary white-boy rapping. "Universally Speaking" pays sweaty, soulful tribute to singer Anthony Kiedis's hometown of Grand Rapids. And "Lemon Trees on Mercury" sounds eerily like it could have been lifted from 1984's Freaky Styley. The band's reliable eclectic side, meanwhile, surfaces on the Latin-flavored "Cabron" and moody "Venice Queen." But the biggest surprise is "Tear," a masterful homage to the Beach Boys that suggests the Chili Peppers' perpetual state of arrested development may someday lift. --Aidin Vaziri
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For its first new set of music since 2000's Warning, Green Day tears up the blueprint and comes up with something unexpected: a punk rock concept album built around elaborate melodies, odd tempo changes, and a collection of songs that freely reference classic rock warhorses like the Beatles and Pink Floyd. "She's a Rebel" and "St. Jimmy" might sound like vintage Green Day, but the rest of the disc finds the Northern California trio trying on a variety of different guises: "Boulevard of Broken Dreams" is a cliché-strewn Foo Fighters-style power ballad; "Extraordinary Girl" floats on Indian strings; and the hushed "Wake Me Up When September Ends" wouldn't sound entirely out of place on a Jessica Simpson record. It doesn't always work. "Dearly Beloved" eerily resembles the Alarm's "68 Guns," while the title track eerily resembles something Green Day has already done far too many times. But, overall, American Idiot represents a promising step forward. --Aidin Vaziri
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