Feeder
Black / Red

THE REVIEW

The magical moment of Feeder apparently shows no sign of ending, as we are faced with a new, very good album.

We are talking about the new "Black / Red," a new (double) work that completes the trilogy started with the equally excellent "Torpedo" from 2022. Produced by the usual and trusted Tim Roe together with frontman Grant Nicholas, the album contains eighteen tracks divided into two parts ("Black" and "Red," in that order) which, according to the intentions of the Welsh songwriter, should be listened to with a genuine interval between the two offerings. A total of four singles preceded the release (two doubles), perfectly representing the album's content.

The intro "Droids" (already featured in the duo's recent live performances) flows into "ELF," a track perfectly identifiable as 100% Feeder: everything is there, from the grungy guitars to the perfectly anthemic chorus, down to a frame of keyboards that is well-present but not intrusive. The single "Playing With Fire" follows, where bassist Taka Hirose is more impactful, taking advantage of a vibe halfway between Muse and Royal Blood.

The album's first real novelty, "Vultures," more clearly sets the sound that accompanies the listener in the harder tracks of the new repertoire; the work on guitars is the best for the band in several years, and in other tracks like "Sahara," "Perfume," and "AI M^n," the experience is repeated in a truly gratifying way. The band's softer side is not missing, bringing us back to older successes like "Comfort In Sound" and "Pushing The Senses," as seen in "Hey You," just as "The Knock" brings back the punch that was customary for the band during the "Yesterday Went Too Soon" era.

The second part of the album tends more toward calm: while containing alt-rock hits tinged with post-grunge like "Sleeping Dog Lies," "Scream," and "Submarine," there is room for the most classic Feeder ("Here Comes The Hurricane," closing with "Ghosts On Parade") and for ballads full of pathos like "Lost In The Wilderness" (more electric and intense), "Unconditional," and "Soldiers Of Love" (with a beautiful and distinctive bagpipe intro). The exception is "Memory Loss," perhaps the only track reminiscent of the band's spectacular debut "Polythene," released twenty-seven years ago.

Another victory lap for Feeder, increasingly propelled towards a triumphant second part of their career

Best Track: Vultures