It is a shame that Feist's Metals came a short time shy of the Polaris Prize, as it's the only real threat to Arcade Fire to come out of Canada this year. Metals sees Feist find her balance between songwriting and vocal performance; her previous albums a smattering of ideas: collections of songs with no ultimate vision and caulked with unnecessary material.

On Metals, Feist takes away from the best work on The Reminder, prime material such as 1234 and Sealion, and capitalizes on their successful elements (while leaving behind the sickening sweetness) for an album that is finally well-rounded and consistent.

Metals stars her songwriting as well as her voice; it is precise and planned down to the chosen title--gray melodies, silvery guitars, and brassy saxophone (from Colin Stetson) drive the album, and give weight to Feist's light-as-air voice.

In Feist's previous work, I always found myself wanting for something more; seeing potential that was never quite fulfilled, and this album delivers. I would predict reasonably that Metals will hold out to make the top spot on my end of the year list, and more--will be shortlisted for 2012's Polaris Prize.