That far in, it was the most interesting song sonically, having ditched the previous five tracks’ uniform dreary piano chords, muted drums and plaintive, stiff vocal melodies. Sarah Blasko’s voice turned girlish and alluring, more like that of Twin Sister singer Andrea Estella than her previous hopeful folk goddess.

Despite the repeating starch of piano chords that leaves it feeling a bit rigid, I found “Even Though I’m a Woman” the most compelling bit of songwriting here, with the trio likening the female role in a poorly founded relationship to the life of a traveling salesman: “Born to be in a state of longing / Born to be wanting, wanting.” I suppose it’s sort of a gender reversal from what Matt Berninger and The National do so well, moping about the idea of a relationship when they ought to, y’know, actually be engaging it.

“Bridges Burned” immediately follows, shining a bit of life and “hope that leads me to a better circumstance,” suggesting that the previous song’s reality eventually took a melodious upturn. “Theme I,” which contains the title lyrics, confirmed my Feist suspicions, matching the somber tone of the more dour tracks on the Canadian singer’s 2011 album, “Metals,” particularly “Graveyard” and “Anti-Pioneer.”

Of the three women, I think I like Holly Throsby’s voice best. Even her whispers seem commanding and ample in volume, especially on “We Will Know What It Is.”

I suppose the reason this record fits like a wool shirt is because last year introduced me to the loose-fit a capella acrobatics of female vocal trio Mountain Man, but who knows? Maybe “Seeker Lover Keeper” will loosen up after a few wears and washes.