Feist "Metals"

The lyrics in this song ring true, because if you cannot find "The Good In Each Other," then you most often will find the bad.I don't know if songs can find the good in me, but I can find a lot to like in the first track besides the funky folk riff with that hand-clap accompaniment. The song slows down as the chorus comes in for a horn inclusion, and then they all reconvene at the end for a fine finish. A walk in the "Graveyard" does a depressed and superstitious soul good; well in this one anyway. She seems to have fallen under the blues until it's a quarter to three (in the morning), and Feist and her fellow choral doppelgangers "...bring 'em all back to life."  Taking another deep breath I "Caught a Long Wind," and I realize sometimes it is best to take in some fresh air.The next song takes almost a minute before she comes in, but..the peak of the relationship they had has lowered;  the intense love melted some of the ice and now refrozen in a depressed state. Feist asks her lover "How Come You Never Go There?," and maybe his heart is too cold to bother trying anymore. The next song has been called the liveliest, and I would say most theatrical, track. In fact, it wouldn't be far to call it "A Commotion," but neither would  be far to call it a great addition to the album. Just remember that "If it rips you all apart, the grudge has still got your heart." Negative energy eating away at your soul?  Maybe it is this dreamy pop married to melodramatic strings in a heart-breaking tale of when "The Circle Married the Line" that reads like a tale with or without you. I'm not sure, but do you think that these "Bittersweet Melodies" may be under pressure? It's a slow contemplative mood, but "like a sweet memory" it lives on. The next song sounds like one written by an "Anti-Pioneer." Again it takes over a minute before the song starts rolling as her delivery tiptoes in fits , but then around 1:30 we are greeted by an ever present tamborine and horns and once the choir starts to sing, "IS THIS THE RIGHT MOUNTAIN/FOR US TO CLIMB?" we are greeted by a drum, and based on the sound of it may be the size of the mountain. The last line is a mere faint echo creating the illusion of a valley. I couldn't help but hear Sarah McLachlan in her voice as I listened to the "Cicadas and Gulls" on the ship I rode as they scraped that d*mn hull . Another song about a contradictive relationship where to "Comfort Me" would be the opposite definitely, but it may not feel so bad to sing along to the end of the song actually. "Get it Wrong, Get It Right" I didn't hate the album, but it wasn't my favorite either. I'm not saying it was trash because that is defintely not true, but what I cannot understand is how she ended the second half. The Bad in Each Other, Graveyard, Caught A Long Wind, A Commotion, Bittersweet Melodies, and Undiscovered First.