The Features 'Some Kind of Salvation' (429 Records) Released 01/03/10

The Features first appeared on the radar several years ago with their super-infectious pop rock single 'Blow It Out'. 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 band hasn't had more widespread success.

Proclaiming its overall style with the catchy chorus of brief opener 'Whatever Gets You By,' the album maintains an energetic, occasionally folky vibe that should make it excellent live as well as on your iPod at the gym. It’s carried by melodic verses and beats that you won't get 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 keyboard and the occasional well-placed horn section. The vocals are offset with buoyant choruses bolstered by sharp guitar and drum lines. The strongest offering is 'Lions,' a straightforward, addictive pop gem with a chorus that begs for live singalongs. 'The Drawing Board' has a similarly energetic appeal. In fact, most of the album hits the mark for bouncy, likable, instrumentally diverse songwriting. Even its most expansive track, the slow-building ‘All I Ask,’ springs a sharp horn section 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,' but they lack the lighthearted urgency that will keep 'Lions' on repeat. A few songs near the center of the album lag slightly, but the tempo picks up again with the driving beat of 'The Temporary Blues' and ambitiously grand album pinnacle '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, 80s-esque keyboard 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 label and on the cusp of a long US-European tour, hopefully they'll gain some recognition for the solid, classic pop album they've produced here.