![]() Here she sings of the fine line between fear and fearlessness that comes with being a parent, while finger-picking cyclical melodies that soothe like a lullaby. The largely guitar-led Forever Before and Love Who We Are Meant To are standouts, her gossamer vocals pushed forward in the mix so we can hear her breath as clearly as the twang of fingernails on strings. That emotive power has its greatest effect when Feist is at her sparest and most intimate. “If I’m frightened it’s just because/ Of the power vested in me,” she sings. Opener In Lightning acts as a catharsis of sorts, with Feist singing choral harmony over clattering drums and synth bass, surrendering herself to the competing emotions of new motherhood and the pain of bereavement that inform the record. Progress may have been gradual and at times faltering, but the results are remarkably clear-sighted and cohesive. Back in California, she combined her ideas in recording sessions with longtime collaborators Mocky and Chilly Gonzales. ![]() She workshopped sketches during several experimental live shows in 20, alongside a planned international tour with Arcade Fire, which she dropped out of following allegations of sexual misconduct against frontman Win Butler (“More than anything I wish healing to those involved,” she wrote). Throughout the tumult of the past few years, she has spoken of writing in slivers and shards. But her back catalogue is full of unusual sonic details too: 2011’s Metals is punctuated by dynamic bursts of stamping, shouting and scratching guitars, while Pleasure (2017) saw her stretching out into five-minute tracks that unfurl into swaggering riffs.įeist’s emotive power has greatest effect when she is at her sparest and most intimateĪcross the 12 songs on Multitudes, Feist deploys this aptitude for melodic softness and severity in captivating ways. At the height of her popularity – with the 2007 song 1234, which soundtracked an iPod commercial, or 2004’s Mushaboom – she harnessed pop-focused hooks and acoustic warmth, clothing layered compositions with a catchy simplicity. Since the release of her solo debut in 1999, she has produced Grammy-nominated and Juno-winning records that oscillate between intimacy and experimentation. Over the past three decades, Feist has established herself in indie music as one of her generation’s most distinctive voices. ![]() Death, birth and persistence inform her moving, raw and occasionally unpredictable sixth record, Multitudes. Feist’s emotive power has greatest effect when she is at her sparest and most intimate. I googled it quickly after and sure enough, Feist had a top 10 US hit in 2007 called 1234. My dad heard the song and said, 'I know this one This was a hit a few years back' and I brushed him off for a second saying its just a sesame street song. She has relocated to Los Angeles, adopted a daughter and lost her father. At the height of her popularity with the 2007 song 1234, which soundtracked an iPod commercial. Its so catchy I find myself singing it in the car, at work, pretty much all the time. The six years since the release of Leslie Feist’s last album, Pleasure, have been momentous ones for the Canadian singer-songwriter.
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