Music Can Heal The Soul (Comfort In Sound - Feeder)

Member Name: fooyoo

Product:	Comfort In Sound - Feeder
Date:	23/02/04 (121 review reads)
Rating:

Advantages: Well crafted and lyrically strong

Disadvantages: Godzilla

Feeder are a group who seem to have sneaked into the spotlight, and many people wrongly assume they are a band who have experienced overnight success. In fact, by 2001, the group had amassed 14 hit Top 50 singles, most of which passed people by, and it was not until they released the magnificent Buck Rogers that they gained themselves a whole new fanbase. At the end of 2001, things were on the up for the band, but within weeks they were devastated by the suicide of drummer and founder member Jon Lee. The band (Grant Nicholas and Taka Hirose) were left with a lot of thinking to do, and the main question was should they, and more importantly could they carry on without Jon. This album is the result of the decision to carry on, and each song seems to be part of the healing process which the band embarked on after such a momentus loss. Who could they replace Lee with? It was a hard choice, but eventually they decided on Mark Richardson, previously of Skunk Anansie.

Opening track 'Just The Way I'm Feeling' is a fine opener, heavy on the guitars, but lead singer Grant's vocals are the main show. Songs like this show a new, more mature approach from Grant in his writing, and I am sure that there is more to the lyrics than even the most ardent fan will ever truly understand. I think because of the circumstances, this track received more airplay than it would have normally, but I think this proved it has more appeal than people thought. It is a song full of feeling, and it really sets the tone for what will follow. It is an impressive opening, and one that I genuinely hoped switched people onto the music of Feeder, and I for one try to convert as many people as possible!

Even with the overiding emotion after their loss, the band have made sure that this song is not overladen with me
lancholy songs, and the tempo moves up a notch with a commanding 'Come Back Around'. It is a track which is much more in your face, and most reminiscent of the rock based songs we have seen so frequently on their other albums. Richardson has accepted that there will be many comparisons to Lee on this album, but he does a good job, and there are certainly no complaints from me. It was the debut release from the album, and allowed the band to set out their stall. They showed the fans that they are still around, and silenced any critics who thought they the would disappear without a trace.

'Helium' stays with the theme of heavy guitars and drums, although the finished sound is something I have not heard on any previous Feeder albums, as it is less polished than I am used to, but there is still a passion evident to the listener. It is not as easy to listen to as many of the other tracks, but it is one which is worth perservering with until you really understand it, and put it where it fits in your mind. This is one of the songs that I can imagine when played live with stay with all of the concert goers forever because it truly is that powerful a song, and I think performing on a live stage is where this band and their songs belong, as sometimes the magic is missed when you sit at home playing the CD.

'Child In You' brings us back down to earth with a welcoming mellow mood. This would be one of my choices to release as a single. It does make you sit up and listen as it is so different from the songs which have gone before it. It is admirable that the band can produce tracks like this without making them too depressing or focusing too much on the events they have had to deal with. At times, I feel a bit like an intruder when I am listening to their songs as they are just so personal, but with songs like this, it seems like
Grant is beckoning the listener in, as he wants them to truly experience the song rather than just listening to it and letting it wash over you without realising it's importance.

Title track 'Comfort In Sound' is one of the landmark tracks on this album for me. It is one of the tracks which is more obviously written about the events surrounding Lee's death, and how the band, Grant in particular found solace in the music. He sings about recognising what has gone by being able to look to the future, whilst fighting against the turbulence in his emotions. It does provoke a lot of emotion depending on the listener, as it is very easy to relate events in your own life to the ones in this song. The title says it all, and I do believe that when you experience any kind of emotional event that music can really be a tool that you can use to help the healing process if you open your mind to it.

The song of the album for me is the magnificent 'Forget About Tomorrow', which was released as a single, and should have done much better than it did. It is a very grand song with lots of strings, mostly cello led, and arguably the best vocals Grant has ever performed. It is all about what if's, and could we have made a difference had we acted in another way. This track is worth buying the album for alone, and everytime I listen to it, I have to shake my head in utter disbelief at the brilliance of the song, and how many critics and listeners completely missed the point it was trying to make. If you have never listened to a Feeder track then please make this your first, as I am sure it will send tingles up your spine.

'Summer's Gone' starts off very much in the style of Radiohead inspired angst, and that dark feeling never really leaves the song. It is a stirring song, and probably because it is the one
where Grant really disappears into the depth of the gloom that surrounded him in 2002. The song seems to drift along in this mode, searching for answers but never really getting anywhere. It is probably the track that I like least on here, and to be it is completely underwhelming, but then I am an avid hater of everything Radiohead have ever released, so maybe the likeness is a switch off for me. I have tried to be less judgemental, but this is the only disappointing flaw in the an otherwise flawless collection.

The hardest track on the album is 'Godzilla', and whilst I don't dislike it, it is nowhere near being one of the best tracks on here, and it seems so out of place with all of the other tracks. It is a bit like a short, sharp shock in thrash metal mode. I think this was where the band decided to have a bit if fun, and also let out some aggression. You either love it or you absolutely detest it. I am in the latter, and I wish the band had not included it. 'Quick Fade' is more mellow, but then that wouldn't be hard considering just how heavy 'Godzilla' was. If I had to highlight which track I thought was most personal to Grant then it would be this one. The lyrics come deep from the heart, and it leaves you with many thoughts going through your head.......'I miss you more than words can say, a part of me has torn away.....'

'Find The Colour' is where the band really show how much optimism they hold for the future. It is a well crafted song, which is a high point on the album, and is one of the more unique sounding tracks in the collection, and is the most fitting tribute to the memory of Lee. It is with songs like this that I am convinced the band can crack the US market which is something they have hankered after for quite a while now. My choice to unwind to
would be 'Love Pollution', as it soothes but uplifts in the same breath. Final track 'Moonshine' finishes the album of perfectly. It's mellow approach and mindful lyrics are a joy to listen to. It ends the album on a high that all of the other songs helped to build up to.

This is very strong lyrically, and even though it has a sad feeling to it, I find myself excited by the sheer talent and determination that the band have shown, as it bodes well for the future. The balance to the album is much better than I anticipated, as where there is sadness, there is hope, and where there is anger, there is realisation. The music itself is enough to stand alone, but it is the spirit and determination of the band which raises above all else. A lot of the melodies and moods and remiscent to early Foo Fighters material, which I think is more down to the production by Gil Norton than anything else, as he has worked with Dave Grohl and co on more than one occasion in the past.

Grant has been quoted as saying that the writing on this album is the best he has ever done, and I would certainly agree with him, although it is sad that it took such a trauma to bring this out of him. His vocals are crisp and clear, and he has really shown what a true all round talent he is, and I am in complete awe of him.

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