Format:Vinyl, LP, Album
Style:New Wave, Tribal [discogs]
A1 Morning Dawning
A2 Inoa 'Ole
A3 Ice House
A4 Dancing On Glass
B1 Sky Train
B2 Festival Of Colours
B3 Miss The Girl
B4 A Strutting Rooster
A1,A2,B2 : Voice – The Lamalani Hula Academy Hawaiian Chanters
B4 :Arranged By [Arr.] – The Creatures. Trad.
No inner sleeve in this edition.
Festival Of Colours Here Part 1 Part 2 [wav & scans] 474 MB
Flac Part 1
Flac part 2
From allmusic :
Recorded in Hawaii between Banshees activities, Feast lives up to its surroundings -- at least the way most people want to imagine it -- as a lush, tropical experience. Almost a tribute to the exotica of acts like Martin Denny but well before the cloying rush of mid-'90s hype around such items, Feast is just that, a chance for the duo to marry Sioux's often cutting lyrics to a different musical brew. Waves crashing on beaches, found-sound effects from nature, and on three cuts the backing vocals of a hula academy's chanters add to the dreamy, mysterious flow of the album.Longtime Banshees producer Mike Hedges assists once again with the proceedings, helping to carry over the dark undertow of the main group to the duo's work here. Budgie varies the more frenetic drum assaults found on Wild Things in favor of a variety of speeds and tempos, but always with a crackling energy, whether low-key and tense or more outwardly rollicking. Sioux's singing succeeds as well as her work in the Banshees, her strong, instantly recognizable voice and lyrics often draped with a gentle reverb that increases the hazy, narcotic feeling of the album. "Miss the Girl," the concise number chosen as a single from the album, has a brisk, catchy feeling to it that avoids straightforward pop for the Creatures' own stripped-down, unexpected approach. Other strong cuts are "Dancing on Glass," a shuddering combination of drum and handclaps that achieves an almost ritualistic groove; the playful, gentler "Gecko"; and "A Strutting Rooster," a strong, rumbling number with one of Sioux's best performances. The backing choir gets an individual chance to shine on "Inoa'Ole," their interwoven voices blending into evocative drones and whines as well as Budgie's slow, forceful percussion and Sioux's own wordless chants.