Magazine Cultura

Uscite discografiche 2011: Feist - Metals

Da Sonofmarketing @SonOfMarketing

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Nel metallo c’è grazia. E’ quello che dice l’ultima fatica di Leslie Feist, in arte semplicemente Feist. Dice anche che la grazia, quando la si percepisce, è totale. Metals è la celebrazione di un mondo perfettamente posato, aggraziato, giusto – in cui the circle married the line, direbbe lei. Se nel metallo c’è grazia, penso che in Feist sarebbe un cerchio, un anello, una forma continua e perfettamente costruita. First Light Was, Last Light Was Alright When The Circle Married The Line. Immagine scontata, si penserà. Altra risposta scontata, ma vera: nella scontatezza di certe forme si palesa la bellezza di avere qualcosa di semplice davanti ai nostri occhi, o in questo caso, alle nostre orecchie.

Metals arriva come un tocco di tempera grezzo sulle maglie di una tela. Prendete un Van Gogh, e tutti i suoi punti di colore che confluiscono nel generare una forma. Ogni elemento è perfettamente a sé stante, semplicemente sostanza propria, eppure accostato ad un altro, a lui opposto, si unisce e, si, confluisce. La navetta è un piano onnipresente, dalle note basse che scandisce un tempo metafisico, lontano e presente, che appare e scompare in Caught a Long Wind. Se all’inizio violini e percussioni danno misticheggiano in pezzi come The Bad In Each Other – perfettamente in stile Tori Amos – o preannunciano atmosfere Poeiane in Graveyard, il tono riprende più avanti. How Come You Never Go There riprende i modi jazz e bossanova più cari a Feist, come del resto in pezzi come The Circle Married The Line; raggiunge il climax ne Anti-Pioneer , un semplice accordo fra voce e batteria, piatti, note scandite nel sottofondo. A Commotion nel tutto sembra echeggiare una Anne St Vincent Clark più strumentale e meno eclettica, ma comunque conturbante; riprende la carica iniziale ne The Undiscovered First, un po’ a mo’ di circolo,richiude l’anello perfetto che aveva disegnato traccia dopo traccia celebrando un’immaginaria riconciliazione tra poli. Cicadas and Gulls chiude come una ballata finale e solitaria accennata a poche corde, è la quiete dopo la tempesta, dopo l’evento.

Conclude Get It Wrong, Get It Right: We were cold, hand to hold. Come to the hill, got a nest to build. Cold outside, warm by the fire, get it wrong, get it right. C’è una paradossale amarezza nel chiudere due estremità, quella che inerisce ad ogni circolo: bisogna passare attraverso varie fasi, seguire tutte le curve, magari incontrare il freddo per raggiungere l’opposto, e confluire in un continuo. Magari, a volte, abbiamo solo bisogno di un orizzonte per capire meglio come seguire un percorso – ed è lì che il cerchio sposa la linea.

Marzia Picciano



Voto Marzia: 8,5/10
Voto Nico: 7,5/10



 

Tracklist

1.The Bad In Each Other

2.Graveyard

3.Caught A Long Wind

4.How Come You Never Go There

5.A Commotion

6.The Circle Married The Line

7.Bittersweet Melodies

8.Anti-Pioneer

9.The Undiscovered First

10.Cicadas And Gulls

11.Comfort Me

12.Get It Wrong, Get It Right


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