Review: The Features, Some Kind of Salvation

The Features first appeared on my radar several years ago, when their super-infectious single "Blow It Out" was offered as the iTunes free download of the week. Happily, the majority of their latest release, 'Some Kind of Salvation,' reflects the same propensity for a well-crafted pop song; in fact, the album contains so many great tracks that it's surprising the Tennessee natives haven't had wider success.

Proclaiming its overall style with the catchy, brief chorus of opener 'Whatever Gets You By,' the album maintains an energetic, slightly folky vibe that should make it great live as well as on your iPod at the gym. It’s carried by melodic verses and beats so infectious that you won't get them out of your head for a week.

The album is at its best when it showcases lead singer Matt Pelham's expressive, mobile voice with the help of bright, driving piano and well-placed horn sections. His vocals are offset with buoyant choruses bolstered by great guitar and drum lines. The strongest offering is 'Lions,' a straightforward, addictive pop gem with a pounding beat and a chorus that screams for live singalongs. 'The Drawing Board' has a similar appeal. In fact, most of the album hits the mark for bouncy, likable, instrumentally interesting song writing. Even its most expansive track, the slow-building ‘All I Ask,’ springs a sharp hook on listeners around its midpoint.

The Features falter most when they slow their sound down, but even less urgent tracks have something to offer. There's nothing really /wrong/ with down tempo pieces like 'The Gates of Hell' and 'Concrete,' but they lack the lighthearted urgency that will keep 'Lions' on your stereo. A few songs near the center of the album lag slightly, but the tempo picks up again with 'The Temporary Blues' and ambitiously grand 'All I Ask.' That said, repeat listens of quieter tracks like 'Baby's Hammer'-- which would make a beautiful acoustic number with its soft guitar and delicate vocals-- offer new complexities. Only the strangely electronic 'Concrete,' a chilly and 80s-esque deviation from the enlivening warmth of the rest of the album, seems like a true misstep.

The bottom line is, The Features deserve a lot more success than they've had thus far. Recently signed to King of Leon's new record label and on the cusp of a large US-European tour, hopefully they'll gain some recognition for the great, classic pop albums they're producing.