Comfort In Sound - Feeder

...You (3.27 minutes)
5. Comfort In Sound (3.46 minutes)
6. Forget About Tomorrow (3.51 minutes)
7. Summers Gone (4.49 minutes)
8. Godzilla (2.05 minutes)
9. Quick Fade (4.24 minutes)
10. Find The Colour (3.47 minutes)
11. Love Pollution (4.13 minutes)
12. Moonshine (6.49 minutes)

Track #1: Just The Way I'm Feeling
The second single from the album was actually not originally ...
...direction.

#5: Comfort In Sound
As the album's title track, I think it marks musically what Feeder were trying to do during the making of this record; release their feelings towards their friends premature death whilst trying to make sense of it themselves. Whilst not taking on as much of a mellower sounding guitar melody as previous track did, I think it is very much the conversation Grant wishes he could have had with Jon. ... more

A band's music, providing that they take the time to craft their own songs, is a direct result of their personal highs and lows. Feeder's fourth release, the aptly titled 'Comfort In Sound', is the personification of this as it was the first offering following the tragic suicide of drummer Jon Lee on January 7th, 2002.

It was hardly a shock that this album lost the groups previous rocky sound, for the most part. 'Comfort In Sound', when you listen to it, is an album in which lead singer Grant Nicholas grieves openly about his regret at his lost friend and sometimes it pours out like a gaping wound. Such feeling is understandable, of course; being friends with a person for such a long time - especially when you work closely with them - you'd begin to re-examine the situation in your head time after time. Grant did do this and revealed that Jon had tried to call him on a different phone number twenty minutes before he hung himself.

It's with that in mind that, when you do turn on your CD player and start listening to 'Comfort In Sound', you have to be prepared for a few depressing tracks, and understandably so. However, buried beneath some of the more melancholic numbers, is a faint breeze of hope that seems to make this album strangely uplifting when need be.

TRACKLISTING
With Mark Richardson joining Grant and bassist Taka Hirose, the album was destined to take a different route anyway but I did find the album altogether completely throughout because of its descriptive yet essentially vague solution to the death of their band mate. It rarely tries to take a complex direction and, when it does, it's a welcome break from some of the darker songs.

1. Just The Way I'm Feeling (4.22 minutes)
2. Come Back Around (3.12 minutes)
3. Helium (3.15 minutes)
4. Child In You (3.27 minutes)
5. Comfort In Sound (3.46 minutes)
6. Forget About Tomorrow (3.51 minutes)
7. Summers Gone (4.49 minutes)
8. Godzilla (2.05 minutes)
9. Quick Fade (4.24 minutes)
10. Find The Colour (3.47 minutes)
11. Love Pollution (4.13 minutes)
12. Moonshine (6.49 minutes)

Track #1: Just The Way I'm Feeling
The second single from the album was actually not originally going to be put on 'Comfort In Sound' as the band and producer Gil Norton weren't sure if the album needed another mid-tempo song. However, I have to agree with Grant's evaluation that its darkness is as beautiful as its hidden sense of optimism; the fade out after the middle eight makes it all the more epic and is a truly inspiring way to start the album off. I think it was almost a song for the fans in their quest to understanding the suicide; there were bound to be some very mixed emotions whilst listening to this release, happiness that the band were carrying on in spite of what had happened but at the same time a sense of real loss.

Marks out of 10: 9.5 - in my view, it should have been the first single from the album. It's a terrific track which marks the albums struggle of confusion, loss and new hope in the face of complete depression. Awesome and one that I never tire of listening to.

Track #2: Come Back Around
Being one of 'Comfort In Sound's' only significant rock songs, it seemed natural that 'Come Back Around' was to be the first single released; it perhaps falsely invited the fans back into their world, without the overt sadness that 'Just The Way I'm Feeling' or 'Forget About Tomorrow' presents. Managing to get a respectable number 14 in the UK singles charts, it seems to gain a confidence throughout, in spite of all of the unanswered questions that it presents. I think it's actually one of the tracks that doesn't dwell too much on the death of Jon; it looks at it almost from his point of view, where he is bored and burnt out. Having said that, I think Grant has written it from a place where Jon was still alive and had actually changed his lifestyle for the better, which - when you over analyse the song - could lose this daring sense of vagueness entirely.

Marks out of 10: 9 - one of my favourite tracks purely for the contrasting of the heavy guitars and mostly positive lyrics. However, I felt it could have been placed a little further down on the album as some of the songs may become a little to depressive for some and a change of pace maybe a welcome release at some of the much darker moments.

Track #3: Helium
This has a very electronic based sound to it, whilst maintaining the bands constant referencing to the tragedy surrounding them at the time. It's almost tempting the fans on the journey of this album, trying to be a little more encouraging as it refers to the 'new heights' as if it is simply a new challenge for the band to overcome. It's one that is more emotionally straining and quite ambiguous in that sense but because of this and its musically different path than on the rest of the album, it certainly stands out. It does sound a little similar to one of the tracks that comes later on but is an excellent, emotional release.

Marks out of 10: 9 - a fantastic song which has an excellent raw energy to it that draws you in to the rest of the album. Although that in itself is an entirely different way of expressing grief. It almost presents itself as being angry in trying to piece together the events but this isn't the dominating emotion that you get here as the tune is mainly its release, rather than the lyrics which is a complete change on this offering.

#4: Child In You
As this track takes a much more reflective tone to magnify the events the year prior to the albums release, 'Child In You' is nothing short of a musical masterpiece, since its original, heartbreakingly soft vocals from Grant to the lowly drums and supporting instruments. Right up until its mild explosion up until the end, this is certainly one of the Welch songwriter's greatest and most tender conquests which is a personal revelation of suspected pent up feelings but on a level that as a listener, you don't feel locked out of. Intriguing, right down to the haunting lyrics and synthesiser sounds.

Marks out of 10: 9.5 - its subtle nature makes 'Child In You' all the more beautiful. It's a strangely relaxing song and really pronounces the bands new outlook and change in musical direction.

#5: Comfort In Sound
As the album's title track, I think it marks musically what Feeder were trying to do during the making of this record; release their feelings towards their friends premature death whilst trying to make sense of it themselves. Whilst not taking on as much of a mellower sounding guitar melody as previous track did, I think it is very much the conversation Grant wishes he could have had with Jon. That, and the music video comprised of both old and new live footage in the mourning colours of black and white, amplify the regret even further and, although on the outskirts this may seem like a song of hope, it may be the comfort of knowing that a loved one isn't suffering anymore.

Marks out of 10: 9.5 - although not completely submerged in anguish, it's one of the tracks that 'Comfort In Sound' desperately needed to avoid becoming completely dominated by this sadness. Excellent because of Nicholas' ability to take his song writing abilities to completely different levels and make it work so profoundly well.

#6: Forget About Tomorrow
The sixth track on the album uses an orchestra in order to process a different kind of sound. 'Forget About Tomorrow' sounds a little like 'Just The Way I'm Feeling' in the sense that it tries to comprehend the event through a affirmative sounding tune but has some rather pitying lyrics, where it's difficult to contemplate the future when you are suffering in the present. It's build up to the release is very similar to the first track here where it breaks for a moment of silence which works incredibly well with the backing instruments to make this much more of a romantic type song.

Marks out of 10: 9 - 'Comfort In Sound' was a very difficult track to follow but 'Forget About Tomorrow' manages to maintain a rightful spot on the album. Not quite as magical or heartbreaking as some of the other tracks on here but an excellent song none the less.

#7: Summer's Gone
This was one of the tracks where initially I found it too depressing; I was only very new to Feeder's music when their original drummer passed away and didn't know the background story. This reminds me a little bit of Radiohead; the angry burst of guitars in the video with Grant's fluctuating vocals. The lyrics, in great contrast to the tune, aren't that original. The metaphor of loss of colour when a companion dies to black and white is a little clichéd, and isn't that unique an expression within indie music. I don't think it would a faired well as a single because of this lack of individuality but as an album track, it fits in well with the rest of the album's mournful theme.

Marks out of 10: 8 - Grant's vocals are of a consistently poignant standard throughout 'Comfort In Sound' with 'Summer's Gone' being no different. Although this one might lack some of the original identity that many tracks on this album possess, it's still a very heartfelt number that is definitely worthy of a place on this album.

#8: Godzilla
Taking a break from some of the more melancholic tracks, 'Godzilla' seems to pick up where this album's predecessor, 'Echo Park' left off as a track high in energy and rock power. It still mentions Jon's death - with the minimalist amount of lyrics referring to the 'lost love in suicide'. This is a song that you either think works well on the album or goes against everything it strives to achieve but I have to say it was a welcome break from some of the more downcast tracks. I loved some of the quirky, mad machine type sound effects and I thought that it was a good contrast to the rest of the album without drowning the overall, collective meaning completely.

Marks out of 10: 8.5 - one for the mosh pit!

#9: Quick Fade
This is one of the slowest paced tracks on the album and perhaps the one that doesn't benefit from Grant's vocals. When you read the lyrics separately, they are beautiful and certainly meaningful. However, when you listen to it on the album it comes across as if he couldn't be bothered to sing it in a softer, naturally depressing tone which in many ways would have made this one of the stand out tracks here. I think that the first verse was written for him; he is trying to convince himself that the loved one is in a better place, with this sentiment turning to perhaps Jon's direction by verse two.

Marks out of 10: 7.5 - both the vocals and tune overshadowed the innate charm of the lyrics. For me, it would have worked much better if it was just Grant and an acoustic guitar. It would have sounded subtly fuller and more impactful, in my opinion, then.

#10: Find The Colour
Following a track that was a little disappointing in my view, 'Find The Colour' magnified that feeling. It was to be the fourth single released from the album, reaching number 24 in the singles charts. To me, it was one of the weakest tracks on the album for a number of reasons. I don't think it actually ties in with the overall theme of lost love that the rest of the album sought to promote. It was a bit conventional and too poppy so if you were expecting another 'Buck Rogers' out of this one, you'd be waiting a long, long time!

Marks out of 10: 7 - it's a well put together song and there's nothing wrong with the production of it; it's just that I personally have never liked it, even from the first listen on the album to when it was played over and over again on the telly with the promotional video. It just doesn't seem...sincere.

#11: Love Pollution
Starting out with the simple strumming of a guitar and a backing orchestra, 'Love Pollution' is one of the finer slow songs that the album has to offer. The vocals seem to fit far better here than they did on 'Quick Fade', and overall it sounds like a much more thorough and competitive song. It provides some of the more romantic lyrics from the album in the middle eight; whilst exploring the idea of inconclusive regret, it seems that you always need someone to pick up the pieces and this is an ode to that someone.

Marks out of 10: 9.5 - the abrupt fade out at the end works surprisingly well here and ends the track in a suitable way. The delicacy of the words really suits the musical element of the song, although they are the stand out feature on this track without any shadow of a doubt.

#12: Moonshine
Starting out with a computerised drum kit (at least, that's what it sounds like) the tune is very melodic and captures the fluttering, gentle lyrics perfectly. The calm moments juxtaposed with the all out thrashing of the cymbals against the deep guitars make this track an ambitious final blockbuster on this album which is not only confident, but makes sense. The pause in the middle only boosts this, making the final track on here one of the most memorable and exciting.

Marks out of 10: 9.5 - ending the album on a much more optimistic note was essential; it could have steered towards a depressive pit of complete gloom but, the fact that it didn't, makes this track stand out on 'Comfort In Sound' as a fitting and gorgeous tribute to Mr. Lee.

THE SINGLES
The tracks that were released from 'Comfort In Sound' were some of the best performing in the bands career. Maybe it was because of the fact that there was a lot of media attention surrounding them already with the tragedy that came the previous year. Or, perhaps, it was because the alterative genre that their music embodied beforehand had been stripped down to a much more conventionally raw masterpiece.

'Come Back Around' I think was released as the first single to welcome back the fans who had purchased their previous albums, perhaps as a way to say that it wasn't all going to be softer, more ballad like tracks. Reaching number 14 in the charts, it did quite well but not as much so as it's follow up, 'Just The Way I'm Feeling'. It was a huge hit, especially after the CD signing in Oxford Street's HMV where the store sold out of the top ten single in one day! That's a huge fete for any band.

'Forget About Tomorrow' gained the number 12 position in the singles charts. It performed well, primarily, due to its more radio friendly sound; it was a lot lighter on the guitars and included words that everyone could relate to. The same could be said of the 'Find The Colour' - although it didn't chart well - but the albums title track did gain a massive following, despite only 3000 copies being sold and the rest being in downloads.

What I'm basically trying to get across is the fact that, whilst the band may have previously been known by their almost post grunge kind of genre, that in actual fact, this album - with all shortcomings attached - brought out a more mainstream, mature essence to their song writing and style. The tracks that do remain true to their old form keep the older listeners interested whilst creating a new fan base in the act.

PRESENTATION
The artwork for 'Comfort In Sound' was very effective because of the minimal amount of colours that were used and the simplistic, crude angel and other figures both on the album cover and on the sleeve. I liked the way that only a line from some of the album's more moving songs were listed; although I'd usually want all of the lyrics included, this time, it worked on a number of levels and really did allow the listener to reflect on the occurrences that surrounded the making of this album. The pastel colours of orange, yellow, green and blue - working with the pure white - also implied this sense of serenity.

PRICE AND AVAILABILITY
When I first got my copy, it was on special offer in Asda for £5.00. We'd already got a copy - actually it was my Mum's from when the album was first realeased - but I wanted my own, which I think in itself speaks volumes for it's quality and overall consistency of brilliant tracks. At the minute, you can buy 'Comfort In Sound' for the following prices online:

Amazon.co.uk: £5.97 (eligible for free super saver delivery)
Play.com: £8.99 (free delivery)
CDwow.com: £6.99 (free delivery)
DVD.co.uk: £7.39 (free delivery)
Zavvi.co.uk: £10.00 (free delivery)

OVERALL AND COMPARISONS TO OTHER FEEDER ALBUMS
When you compare Feeder's 'Comfort In Sound' to their other back catalogues of work, it would seem that this release is their most thorough of them all. 'Echo Park' - the album before this one - is fuelled by electric guitar energy, even on some of the mellower tracks, such as 'Seven Days In The Sun'. It's of an overall more alternative sound, and strives to please that audience in particular, in many ways.

'Comfort In Sound' is a departure from this and - in my humble opinion - the strongest record they've ever made. 2004/05's 'Pushing The Senses' never had me hooked because I was initially unimpressed with the singles; the title track, along with it's bland but really odd video, didn't endear me to really trying it and I was worried it would taint my feelings towards this release. What I have heard of it, although it might not be as forthcoming in its grievances, it does seem to be near enough replicating a lot of these emotions and not releasing them in a way that is that startlingly different to anything from this offering.

However, this album has got it all, as far as a semi-depressing, pop/rock record goes. 'Comfort In Sound' possibly embraces the events of Jon's death better than many fans could hope for, mainly through the sympathetic tunes and Grant's tender, expressive vocals. His song writing here is astounding and the articulation in which he uses to vent his deepest, darkest demons surrounding one of his closest friend's death is awe inspiring. Although these emotions should have been released in a way in which it only tells the story in a very private manner - building on conversations the two men would have had if he'd lived or even when he was alive - it doesn't feel like as a listener you've been left out of this all that much. I think it's an incredibly versatile album in that respect because, although the lyrics are quite frankly sublime, they are very vague in another case which makes it an intriguing listen.

Yet, there is a minor fault that the album does lack themes away from the loss of love and death, with some people may even finding it to be an overall depressing listener. Considering what had happened though, I don't blame Grant for steering his song writing down that route; it comes over as completely authentic and beautiful, and is a credit to himself as a lyricist.

Undeniably the album Feeder should be remembered for - and rightfully so!

(Written by 'The Young Intellectual' aka MizzMolko). 

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