Feeder
Renegades

When a sought and desired change proves revitalizing.

After the two beautiful EPs released during the course of this year (and a series of concerts in small venues to reclaim a more "intimate" dimension closer to the fans), Feeder, fueled by a newfound artistic autonomy due to the foundation of their own label Big Teeth Records and a new addition to the lineup (the new drummer Karl Brazil, ex Ben's Brother, replacing the departing Mark Richardson, who returned to the revived Skunk Anansie), publish this new work, "Renegades," two years after the previous (and excellent) "Silent Cry," an album that, despite practically no promotion due to the dire financial conditions of the then-label Echo, still managed to hit the British top ten.

But let's get to the album itself: this "Renegades" proves to be a great album, hard, concise, powerful and compact, not exactly a return to the early sounds of "Swim" and "Polythene," but still something different. A wise and attentive ear would have easily realized that after the hybrid sound between the band's early and later periods of the previous release, the three Welshmen risked an unpleasant stagnation in their growth path. Fortunately, however, despite the strength and beauty of the melodies always being key pillars of Feeder's sonic framework, a process of toughening and recapturing some sonic incisiveness is simultaneously brought to full fruition, already begun with the previous studio work (see "Sonorous," the real gem of that album).

From the initial "White Lines", it's very clear and outlined where Grant Nicholas (author of all the tracks) wants to head: the drums mark a heavy and tight rhythm, followed by a bursting and commanding guitar riff by the frontman himself. "Call Out" is the first single released, an enjoyable shot à la Foo Fighters (in this sense a new "Come Back Around") that resolves into a direct and engaging slogan-chorus. The title track is instead a triumphant ride full of punk rock references and will be the second single from the album.

Then there are tracks like "Sentimental," "The End," "Home" and "Barking Dogs" which, with hard rock streaks (the first three) and punk (the latter) concentrate in two-three minutes each an energy and vitality surprising for a band with over ten years of career behind them.

Speaking of which, very few references to the past: they are limited to a beautiful B-side ("Fallen," an instant classic like "Find The Colour," which in a different historical moment of the band would have deserved better fate) and the vibrant "Left Foot Right," almost an outtake from "Yesterday Went Too Soon."

Instead, two keystone tracks on the album: one is the "central" piece "Down To The River," a kind of sequel to the old and masterful "Descend," the only one to "take its time" and extend melody and emotions over five minutes of stellar power ballad. Undoubtedly the best moment of the album. The other is "City In A Rut," not so much because it possesses a particularly marked beauty, but as it is undeniably one of the most effective melodies ever produced by Nicholas. On the other hand, "This Town" leaves no trace, certainly not terrible, but also not indispensable.

Ultimately, a great work: short but incisive, with a convincing, well-defined identity and played with conviction and passion.

The beginning of a second life for the always excellent Feeder, awaiting a new album expected in October and composed of songs that, according to Nicholas, will show the more "quiet" side of Grant and his associates' music.

Key Tracks: "Renegades," "Down To The River," "City In A Rut"