Feeder
Pushing The Senses

THE REVIEW

"Pushing The Senses" is the fifth studio album by Feeder.

 The Welsh frontman Grant Nicholas considers this work the sequel, not only factual but also ideal, of the previous (and beautiful) "Comfort In Sound". Consistency on a musical and lyrical level, therefore, is the watchword for this new full-length.

 The producers chosen to assemble the album are three; Grant himself, the in-demand Gil Norton (Pixies, Foo Fighters), and Ken Nelson (Coldplay), the latter being involved only in the splendid piano ballad "Frequency".

It is nevertheless the album of Feeder's definitive consecration, with a nice number two on the U.K. chart and a good number eleven on the general European chart during the release week, in addition to some support dates during U2's "Vertigo Tour" and the achievement of headliner status at the "Download" Festival.

 A claim nevertheless deserved, it must be said: there is certainly no shortage of exciting melodic ups and downs, now a trademark of Feeder, at least in the second part of their decade-long career. Just think of the splendid opener "Feeling A Moment", an electric ballad of dazzling beauty released as a (fortunate) second single, or a gem like "Tumble And Fall", which anticipated the album's release (Fran Healy of Travis is a welcome presence on backing vocals). The most intense and emotional songs reach considerable emotional heights in this work; Grant's voice, unlike the early works, is delicate and gentle, and it embellishes great melodic glimpses like the Lennon-esque "Tender", the evocative "Pain On Pain" and "Dove Gray Sands" (placed at the end), in addition to the expansive "Morning Life", the latter perhaps the best track of the work. To not worry the longtime fans, abrasive and sharp guitars are not lacking, abundantly present in "Bitter Glass" (explicitly inspired by Talking Heads) and "Pilgrim Soul", the latter incredibly powerful and scathing. Paradoxically, the title track perhaps appears as the weakest episode of the album, even though it maintains particularly rock-oriented coordinates.

 It must be said that the lyrics considerably enrich the great work done on the melodies: joy certainly does not reign ("How do you feel when there's no sun /How do you feel when rain drops come pouring down again /How do you feel when there's no one? /Am I just like you?", from "Feeling A Moment"), and clearly, the holidays in Majorca of "Seven Days In The Sun" are a very distant memory, but the expressive incisiveness of every single piece is truly admirable.

 An undoubtedly non-experimental and innovative work, nor carefree and summery, but indisputably exciting and complete in its every aspect. An album that confirms Feeder's class in building melodies of uncommon beauty and that rightfully nominates them to enter the European pop-rock elite.