Now on their eleventh album, Feeder have tasted all forms of success. Yet, at this stage in their career, they still aim for the top and continue to explore and develop their music. It seems surprising that an album as high quality as Torpedo comes from a band whose ‘best’ years were in the early 2000s. But this is what is expected from Feeder, one of the few groups still consistently achieving success from their era. Torpedo is one of their heaviest records yet but still radiates positivity through its sing-along choruses and soaring melodies, the features which have always made their music so appealing.

After becoming increasingly frustrated with the lockdown in 2020, singer and guitarist Grant Nicholas and bassist Taka Hirose abandoned the material they had recorded over the previous months and instead wrote what would become Torpedo. This frustration with the world around them was poured into the album which explains its darker sound in comparison to their previous records, but also its message of overcoming and optimism. It is still recognisably a Feeder record but is different enough to not seem recycled and simply be regarded as a very good rock album.

It is still recognisably a Feeder record but is different enough to not seem recycled

Opening song ‘The Healing’ seems to sum up the album with its bright guitars and strings and positive lyrics before becoming much more intense and heavy, lyrically and instrumentally. Nicholas, who aimed for the song to ‘take the listener on a real journey’ sings in the chorus ‘Hands lifted high for the healing/ A feeling of warmth and new life’ but switches to a more forceful message of ‘Sooner or later/ We’ll realise the consequences/ When will we wake up?’

Third single ‘Wall of Silence’ delivers a similarly redemptive message but in a heavier fashion. The verses are more self-critical with lyrics like ‘What have we become/ Living in our heads/ Szhutting out the morning sun’ but the soaring chorus like much of the album overcomes this negativity. Its distorted guitars and pounding drums mixed in with a synth-based riff and other digital sounds give the track a massive sound reminiscent of some of Feeder’s previous hits including ‘Buck Rogers’ off their 2001 album Echo Park. ‘Born To Love You’ has very similar elements with a wide-open sound and electronic riffs alongside the guitars.

The title track has an alike lyrical structure that is matched musically. The huge, darker sounding riff of the opening and verses ascends into more open, driving chords in the chorus alongside Nicholas declaring ‘Today it feels like everything will be alright/ The weight we carried lifted from out lives.’ The optimism isn’t as obvious in ‘Magpie’ with its sinister crunching riffs and haunting melodies and lyrics. This sound is amplified by the guitars in the chorus and the eerie, almost electronic sounding solo making the song one of Feeder’s darkest sounding releases.

another vicious distorted riff leads into another classic Feeder chorus

‘Hide and Seek’ departs from this completely as it could be regarded as one of the most gentle Feeder songs. Its warm strummed guitars alongside the soft drums and wistful vocals make the track extremely calm. The instruments and singing are accented by subtle digital sounds and lyrics like ‘So find your inner peace’ and ‘Good feelings on repeat set you free’ that push the aesthetic further. ‘When It All Breaks Down’ begins in a similar way with Nicholas’ whispery singing and the understated guitar mirroring the vocal melody before another vicious distorted riff leads into another classic Feeder chorus with ringing symbols and rousing melodies.

‘Decompress’ is another song that captures Feeder’s and the record’s essence. It is edgy, restless verses gradually unfold into an explosive chorus with exciting and hopeful lyrics. ‘See what tomorrow has to give/ through the clouds and morning rain’ Nicholas cries before a gentle acoustic breakdown that highlights the skills of the band’s studio drummer Karl Brazil. ‘Submission’ also has many of these same features with shallowly sung verses leading into an uplifting chorus.

The song provides a surprising but welcome moment of tranquillity to end a generally intense album

Final track ‘Desperate Hour’ is more stripped back putting more emphasis on the last lyrics of the record. Nicholas summarises the album’s main themes accompanied by an acoustic guitar and varying sounds including a cello and timpani drums. The song provides a surprising but welcome moment of tranquillity to end a generally intense album. The full meaning of the lyrics can be appreciated without the crunchy guitars and thunderous drums in the background making the listener’s last thoughts of Torpedo about its message of hope and progression.

Torpedo seems to have come at the perfect time for both Feeder and their fans as well as music fans generally. On the album they are able to express their frustration with the world with the positivity and the balance of emotion and light-heartedness that has always been present in their music. Although it has its dark moments they always erupt into triumph through explosive guitars and drums and joyful melodies. It has all the elements that make Feeder’s music popular but is generally heavier, makes greater use of digital sounds and has relatable lyrical themes. At this stage in the band’s career (and with them still being without a permanent drummer since Mark Richardson’s departure in 2011 and Jon Lee’s tragic death in 2002) it is inspiring to the see them still striving for their best and expanding on what makes them a great band. Torpedo does not just show that they are far from finished but also that Feeder remain to be one of the country’s most prolific rock bands.

Rating: 8/10

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