That’s right folks! After years of demos floating around cyberspace, Feeler is officially released! For those who haven’t been paying attention to one of the greatest Alt. Rock bands there has ever been, this album was infamously shelved in 1997 by the band’s then label (Interscope). Feeler should have been the follow up to the band’s platinum selling Rubberneck album.
Feeler starts out with acoustically dissident, “Trust Game.” While it’s an odd way to start the album, it certainly reminds you that this band belongs in the Alt. Rock context and not the late nineties watered-down version of the genre. It’s got some bite to it, not unlike Screaming Trees or Mudhoney. Lyrically, given the history of the album, it’s definitely the right track to open the album. The slow building and groove-heavy “Waterfall” and the near Punk Rock sound of “Dead Boy” roll up next to complete the band’s right hook to your senses. It’s with the fourth track, “City of Hate,” though that Feeler really hits its stride and delivers far beyond what any fan could have reasonably hoped for. The song is easily the best Toadies song to date, perfectly balancing memorable riffs and off-kilter quirk. It’s impossible to get this song out of your head. “Mine” and “Suck Magic” take the band back to basics before “ATF Theme” brings back the thick, rock groove of the early album. “Joey Let’s Go” brings a slight haunting to the album before “Pink” closes the album on that wonderfully dissident note that makes this band Toadies.
All I can really say here is how in awe I am of Feeler. This is quite likely the best album this year (with the new Norma Jean giving it a healthy run for its money). This would have been a huge smash in 1997. It likely would have cemented the band in Rock history – as happened with bands like Smashing Pumpkins, Soundgarden, and Pearl Jam. Although history is unlikely to crrect itself, fans old and new will abso-freakin’-lutely love what should have been.
Every self-respecting fan of guitar-driven music should own Feeler.
Reviewed by Mark Fisher
