Released: June 16th 2008
Formats: CD, Deluxe CD & 14" Vinyl
Highest Chart Position: 8
Tracklisting:
01. We Are The People
02. Itsumo
03. Miss You
04. Tracing Lines
05. Silent Cry
06. Fires
07. Heads Held High
08. 8:18
09. Who's The Enemy
10. Space
11. Into The Blue
12. Guided By A Voice
13. Sonorous
*14. Yeah Yeah
*15. Every Minute
*Bonus Tracks Exclusive to Deluxe Edition
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We’ve been criticised at times over the past few years for being a little hard on Feeder and their directional choices. We are supposedly a fan-site after all, but some of our reviews have left us looking more like an angry “you’re doing it all wrong” site instead. We can’t help it – it’s like a parent who refuses to accept that one of their children has grown up, had a sex change and introduced them to his new boyfriend; Ted.
Fortunately, there seems to have been some sort of revelation in the camp, and now Ted is gone hit over the head with a spade, presumably and replaced by the new lady in Feeder’s life; Silent Cry.
Sure, she doesn’t talk much and she doesn’t sound like she’d be much fun at a party, plus, if we’re being honest, she does bear a remarkable resemblance to a bestraggled crow - but rest assured - all that piddly-diddly-medley nonsense that’s been plaguing us and our fun loving rock ways for the past seven years has been well and truly put to bed.
As a result, Feeder have returned to form with a grand cocktail of a rock album which picks up the baton dropped some seven years ago by our former favourite album Echo Park.
Don’t get us wrong, it’s not quite the complete U-turn - there’s still plenty of Comfort In Sound and Pushing The Senses in here to appease fans of those two albums, we’re looking at you, Fires, but the mellower moments keep themselves anonymous just enough to add a little subtle depth to what is first and foremost a traditional Feeder record in the vein of the old.
…And whilst Silent Cry isn’t going to win any greatest album of all time awards, that title became forever obsolete with the release of 2003’s ‘Poodle Hat’ by Weird Al Yankovich, as far as Feeder albums go, it comes pretty shitting* close.
‘We Are The People’ kicks things off, in a lyrically ambitious, but slightly laid back approach, you know, like it wants to cure world hunger, but doesn’t have the motivation to actually go out there and do it, opting to post Africa a copy of ‘Delia’s How to Cook’ instead before rolling on into Japanese-titled ‘Itsumo’ after a nice little ‘We Are One’ jingly-outro thing. We’re big fans of jingly-intros, outtros and Waitrose here at FFS, but they’ve been criminally underused by Feeder in the past.
Itsumo roughly translated as ‘Always’ for us English speaking types is the proverbial dogs bollocks. It drives headlong in to a catchy drumbeat, surprisingly straight-up lyrics a million miles from anything on Pushing The Senses and beats your ears with a sweet sweet stick fashioned from the secretion of Grant himself. If this is what Feeder sound like now, sign us up to the mail listing, because it’s good, oh so very good.
Track 3, ‘Miss You’ has Lost & Found Part II tattooed all over its arse. As mental as a bag of squirrels, the music is fantastic fun, but the song is let down by some miserably predictable lyrics which brings the whole thing crashing down like your mum bringing you a cup of tea whilst you’re immersed in a whole load of artistic nudes on DeviantART.
How about instead of, say,“You’re Coming Back, Coming Back, Coming Back, ‘cos I just don’t see it, Coming Back, Coming Back, Alone” you have “Massage my back, don’t give me flack, you’re starting to slack, put you’re back in to it, Massage my back, it hurts like crap, come on”? The lyrical possibilities are, evidently, endless, yet we seem to be trapped in some sort of weird forever-repeating parallel universe where the music changes but the lyrics stay the same. ALL THE TIME. And they’re depressing too. Miss You is a fun vibrant song, destroyed in some ways by lyrics that make you want to stick your head in an oven and turn it on. It’s like your best friends dancing the funky chicken… all over your grave at your own bloody funeral.
And then everything we just said goes out the window with ‘Tracing Lines’, which, for the first time in a long time, demonstrates Grant’s own brand of wicked dry humour. “I Fell into Water. The Water was Deep” is like lyrical sex, smeared all over a catchy, fun, extrovert track that vocally challenges Love Pollution for the crown of “Best ever Grant’s vocals”. Tracing Lines is single material and has a real good tune about it – plenty of scope there for festival sing-alongs and arm waggling.
After a lively four-track introduction, the album suffers something of a self-inflicted hangover – with the title track ‘Silent Cry’ slowing things down to snail-pace with some modern Feeder balladery. The drums become much lighter and slower, whilst the guitars go loud for a typically big chorus.
The tempo is dropped further with Fires, probably best described as Feeling A Moment & Bitter Glass soup - Indeed, it is the biggest nod towards Pushing The Senses on the album, but, just like straggly mole-hairs and toe-nail fungus, it does tend to grow on you after a while. A little while.
It’s followed up by Heads Held High, which goes all out to steal Summers Gone’s wallet, before smashing it’s acoustic guitar on the pavement and legging it. It grows as it progresses, with some restrained drumming by Mark and another big chorus, offering a little bit of variety to the album before drawing a big black line under ‘the mellow stuff’ and returning the album to the overall theme set with the first four tracks.
The slow paced lull dissipates just a few seconds into 8:18, which starts out with a similar build; with a focus on vocals rather than instruments before blasting the album back on course with some really big sounds - woo-wooing and all. 8:18 is a powerful song, much in the same way as sister tracks Itsumo & Guided By A Voice, but suffers from ‘middle-child-syndrome’ and doesn’t quite capture their essence in the same way.
Stormy ‘Who’s The Enemy’ is probably the heaviest song of the album and just a little bit 1980’s; sporting super-tight stonewash jeans and trademark mullet/moustache combo, it has a ‘Run, Shoot and Jump’ feel to it from the start with a military chorus, but just does enough to stay true to Feeder style, at times, sounding almost like a peculiar rendition of Bitter Glass by Duran Duran. Not a bad thing mind, just a bit weird. Like finding Catherine Zeta Jones in your living room, dressed as an elf.
Actually, it’s nothing like finding Catherine Zeta Jones in your living room dressed as an elf – we just like the thought of it and felt the need to squeeze it into the review somehow.
Space follows; not a proper song at just thirty seconds long, but a musical interlude leading into ‘Into the Blue’. And whilst this was the point where Pushing The Senses had uninspirationally (not a real word) ended with uber-mellow Dove Grey Sands, Space is used to connect the third and final chapter of Silent Cry to the rest of the album. A nice little jitty that mercilessly beats the lyrics right out of ‘Lose The Fears’ cold dead hands.
If handled properly, (ie. Not by anyone at Echo) ‘Into The Blue’ could well become the next Feeder ‘Mega-Hit’ on a Buck Rogers or Seven Days In The Sun scale. Probably, according to us, the best track on the album, and like Itsumo, could easily slip past security on the door of Echo Park - Into The Blue is a catchy, larger than life song that isn’t plagued by half-glass empty lyrics like Miss You was. Most of all though, Into the Blue is fun. Yes that’s right, fun – fun like going on a roller coaster, eating a cake or putting socks on a dog. It’s something we Feeder fans haven’t tasted much of lately, but that only makes it all the more sweeter. If Feeder can write an entire album like this then the need for other bands will become obsolete and Grant can finally be declared Prime Minister of The World.
And as good as Into The Blue is, Guided By A Voice manages to keep the momentum going with something even more catchier – an in-album sequel to 8:18 which bounces off all the walls and drops out of the chorus in such a lovely way you’ll want to take it to bed with you. Definitely a sing-alonger, GBAV builds the album up for a stunning climax…
…with the final track, ‘Sonorous’, offering resolution to ‘We Are The People’. The album really does come around full circle, with an almost Muse-like mix of heavy rock and light melodies and another big epic chorus, reiterating the messages we were listening to way back at the beginning of the album, only this time with a twist of hindsight. As it turned out, that signed copy of ‘Delia’s How To Cook’ fetched Africa a good £250 on eBay, and finally; the orphanage could be saved with the proceeds.
-Bonus Tracks** –
‘Yeah Yeah’ is a mental track which oozes old-school Feeder rock – that’s real old Feeder rock too – we’re not talking Pilgrim Soul or anything like that, this is proper Cement and Crash stuff, which we probably delusionally feel would make quite an imaginative choice as a single with some kind of psychedelic video involving the band dancing around. In Panda suits. Ironically, ‘Yeah Yeah’ is one of our favourite songs on the album; thank god it made it on.
‘Every Minute’, the real-real final song on the album, is another of our Silent Cry favourites too, but not only that - lyrically and vocally; Every Minute is probably one of our favourite ever(!) Feeder songs***. We don’t say that lightly, in fact, our faces are so straight and serious we’re almost German, but Grant’s delivery turns a song that, to be fair; doesn’t have an awful lot to it, into another of Silent Cry’s many many highlights.
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Silent Cry is the best Feeder album since Echo Park.
It’s so much better than Pushing The Senses that comparing them would be a complete waste of time. The band has taken on board all of the criticisms levelled at the previous two albums and they’ve put it all right. Literally all of it.
Our biggest moan besides the slight course deviation during the album’s mid-section is probably the album title, which made us shudder the first time we heard it and still draws little inspiration from our drunk and mostly lifeless brains today. It really is an odd title because apart from the namesake track, it does little to describe what the album is actually about.
Anyone who hasn’t heard it might surmise, going by the title, that this be another selection of piano-led soft pop-rock, ripped straight out of the Coldplay school of ‘how to be bland’… and that’s not a good thing.
We much preferred the original ‘Songs from the Crypt’ title, which at least went someway to explaining the crow themed artwork, but we’d also have accepted ‘Itsumo = Awesomeness’, ‘Into The Blue Rocks Our Socks’ or ‘Feeder Are Back : and they’re going to punch you in the face’.
8.5 out of 10****
Sub Notes
*If you don’t like the word “shitting”, feel free to change it in your mind to the word “darn” instead, and then it’s all-good.
** That’s right, Silent Cry has bonus tracks – two of them, with the band offering up a ‘deluxe’ version of the album, rather than running the risk of doing another “Shatter & Victoria”.
*** We don’t know who Sarah is, but we bet she has huge t*ts.
**** Rockin’!
time for fan power once more guys, lets flex our muscles and remind them why we're the best group of fans around, we did it for Shatter, now add your voice to the campaign to get a physical Tracing Lines/Silent Cry release AND a new track!
http://www.ipetitions.com/petition/feeder/