David Feder’s virtuosic guitar work has earned him a reputation for blending flamenco, classical, jazz, and folk into a singular sound. But on two standout tracks, “Right With The World” and “Black Is The Color Of The Wind,” Feder takes a different path, experimenting with a different approach and genre.
“Black Is The Color Of The Wind” opens with delicate classical-inspired guitar work before shifting into a sparse arrangement, where Feder’s palm-muted guitar lines and understated percussion allow his melancholic vocals to take center stage. His voice carries a quiet, poetic depth, balancing somber reflection with lyrical elegance. The song remains dynamically subtle throughout—eschewing crescendos in favor of a steady, hypnotic flow. What it lacks in flash, it makes up for in its atmospheric details, with moments like the brief “whiplash” effect adding texture to an otherwise contemplative track.
“Right With The World” offers a contrast, diving into a groove-laden sound that flirts with Red Hot Chili Peppers-style funk before settling into a more laid-back, yet expansive, verse. Feder’s repetition of “Gonna be right with the world” lingers in the air as the track builds around him. There’s a slick, 70s-inspired guitar solo in the middle—evoking the smooth precision of David Gilmour—before the intensity ramps up again towards the end, this time grittier and rawer, delivering an unexpected punch.
While both tracks showcase Feder’s ability to adapt and evolve his sound, “Right With The World” feels especially impactful, a dynamic highlight that sticks with you long after it fades. If these two songs are any indication, there’s much more to uncover in Feder’s ever-expanding musical universe.
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