ALBUM REVIEW: Feeder - Black/Red

Feeder’s latest offering is a slice of alt-rock heaven from a band still firing on all cylinders.

Putting out a double album is a brave move for any band. When you’re on your 12th record (13th if you count 2017's Arrow), it’s especially bold, particularly in an era famed for its diminishing attention spans. At their Birmingham gig (and likely the other gigs too), singer, guitarist and songwriter Grant Nicholas described this record as a “statement” for the band. It’s a show of ambition rare for a musician at no less than 56 years old, but then, Feeder have never been the sort to rest on their laurels.

BLACK

This drive is evident from the off. ‘Droids’ opens the record with an ethereal atmosphere reminiscent of Polythene’s closer ‘20th Century Trip’, before ‘ELF’ kicks in and you suddenly find yourself with a big smile on your face. This is quintessential Feeder; lovely melodies, a larger-than-life chorus and a British summer vibe. It sets the bar and raises expectations right from the off.

The pace doesn’t let up either; both ‘Playing With Fire’ and ‘Vultures’ seeing the heavy-o-meter turned well up. The former’s chorus barges its way into your ears and the latter’s pace is simply unrelenting.

This heavy nature does take a backseat thereon after, but the quality absolutely doesn’t. ‘Sahara’ is a song easy to admire for its anthemic nature, but it’s the follow-up ‘Hey You’ that truly shines. It is Black’s highlight without question; a truly gorgeous song, full of grace and poise. It’s “oh-oh, eyy-eyy” vocal line is simply irresistible. Feeder at their very, very best.

Finishing off this particular album is underrated single ‘The Knock’, which boasts the most festival-ready chorus on the whole record, ‘Perfume’, which darkens the mood and, unusually, allows the verses to shine instead of the chorus with their slow grooves, and finally ‘AI M^n’.

Though ‘Perfume’ does slightly darken the tone, it does not prepare you for ‘AI M^n’. There is an anger here, almost a fear – and a chill. This is a warning that Nicholas wants you to heed: do not give in to the AI revolution. This message is sent with a chill down your spine; it evokes a visceral reaction. It’s completely unexpected after 25 minutes of summer Feeder, and it’s utterly fantastic.

And we’re only halfway through.

RED

Red is the slightly longer sibling, but it’s not as winding or as complex. Both ‘Sleeping Dogs Lie’ and ‘Scream’ are decent tunes, but are far more straightforward than anything heard on Black. It’s a different feel, a more commercially viable Feeder with the slight sacrifice of less interesting songs. Well, briefly. And then, ‘Submarine’.

‘Submarine’ is intense. It’s got Feeder’s most classic quiet-loud dynamic, with a very catchy chorus and then some serious, serious riffage. After two decent but, let’s say, “normal” songs, ‘Submarine’ piledrives you in the face. It’s a Hell of a song by any standard. It’s my standout from Red, but for many, that will be its follow-up, the gloriously anthemic ‘Lost in the Wilderness’. Like ‘Hey You’, it’s a truly beautiful song and the most likely to bring a tear to the eye. Grant’s ability to make you headbang one minute and feel nostalgic the next is simply unparalleled.

‘Memory Loss’ is emblematic of Red’s more inconsistent nature, again showing decency without wowing you in the same way the album’s stronger moments do. It’s a pretty plain song, but the same can’t be said for ‘Unconditional’. A quirky 5/4 time signature in the verses coupled with yet another huge chorus? Boom, we’re back again.

To close the album, we first have ‘Here Comes The Hurricane’, the most “mid-Atlantic” song on the album and not totally removed from The Killers, whose similar vibes earnt them plenty of love from this side of the pond. Then there’s ‘Soldiers of Love’, an elegant and heartfelt ballad opened by bagpipes of all things, and finally ‘Ghosts on Parade’. Other than the surprisingly heavy bridge and outro, it’s not quite as impactful as I like a closer to be – certainly not as good as its brother ‘AI M^n’.

THE BOTTOM LINE

Okay, Red may not be quite as strong as its counterpart Black, but in truth, I’ve been a bit harsh on it and as a full listen, Black/Red stands tall among Feeder’s already strong catalogue. Grant himself seems different, like he’s found a fresh energy and passion. He’s singing better than he has in years, and his creative juices are clearly freshly made. If Feeder have a best before date, we certainly haven’t passed it yet.

This is the culmination of a renaissance that started with 2016's excellent comeback album All Bright Electric, itself a risk taker. Since then they have only gone from strength to strength, and Black/Red feels like something of a finale for the last 8 years. While they have nearly always made the top 10, including two #2 entries, Feeder are yet to register a #1 album. If any of their records deserved it, it’s Black/Red, for its drive, for its ambition, but more than anything, for its sheer quality. “Follow me now”, Grant demands on ‘Playing With Fire’. It’s well worth obeying him.

9/10

Recommended songs:

Hey You

Submarine

AI M^n ELF

Lost in The Wilderness