Leslie Feist Metals Youtube

• ' Released: August 12, 2011 Metals is the fourth by Canadian singer-songwriter. It was released on September 30, 2011 in Ireland, Austria, Switzerland, Germany, Sweden and Belgium; October 3, 2011 in the United Kingdom; and October 4, 2011 in the United States and Canada.

The first single from the album is ', which was released on August 12, 2011. The album was supported by a world tour which started in, Netherlands on October 15, 2011 and finished on October 20, 2012 in Latin America. Metals debuted on the US at number 7, and sold 38,000 copies in its first week. It earned Feist's best sales week and it was her first top 10 album to chart in the US. The album received acclaim from critics. Contents • • • • • • • • • • • • • Promotion [ ] Promotion for the album began with short videos which feature snippets of tracks and the making of the album.

They were posted on her website and other social networking sites since July 21, 2011. Four days after, she officially announced the release of Metals. Artwork for the album was revealed on August 2, 2011; previously, fans were given the opportunity to select the color design for the album cover on. Writing and recording [ ] After touring for her previous album, The Reminder, Feist was 'emotionally deaf'.

She stopped playing music for two years, saying that she 'wasn't curious anymore'. In 2010, she went to the studio in Paris where she had recorded. After coming back from Paris six months later, she wrote most of the album. For recording Metals, Feist went to with the lyrics almost completed and set up an ad hoc recording studio. Metals was recorded in and Big Sur, with collaborators including,,,, and producer.

They began recording the album in January 2011. The album's title was partially inspired by 's non-fiction book. She said of the recording process that 'I allowed for mistakes more than I ever have, which end up not being mistakes when you open things up and make room for them.'

The Making of Metals. Metals Revealed. Metals Released. Metals World Tour – 1. How Come You Never Go There. New York Times. The Bad In Each Other. Metals World Tour – 2. Bittersweet Melodies. Polaris Awards. Anti Pioneer. Don't Give Up. Aug 17, 2011 Mix - Feist - Metals #9 YouTube; Feist vs. Buck 65 'Metals' interview - Duration. Leslie Feist - caught a.

Composition [ ] For the album, Feist aimed for a sound she described as 'modern ancient', mixing old and new instruments. She stated that the album had 'more chaos and movement and noise than I've had before.' The music of Metals is influenced by genres such as and the, and contains elements of. The lyrics of Metals contain a lot of 'nature imagery', as Feist was fascinated by the weather since 'it makes you feel so minute.' They also contemplate topics such as dying love, mortality and solitude. She also pointed to 'Sealion' from The Reminder and said that it 'grandfathered some of the concepts in Metals'. There are many minor chords and open fifths on Metals, as well as a lot of voices sung in unison.

Juno Award For Songwriter Of The Year

The songs 'How Come You Never Go There' and 'Anti-Pioneer' are, the latter she had worked on for ten years. Reception [ ] Professional ratings Aggregate scores Source Rating 81/100 Review scores Source Rating B+ B+ 82% 7.7/10 7/10 Metals debuted at number seven on the Billboard 200, selling about 38,000 copies. It was Feist's best ever sales week, and was her first appearance on the top 10 of the Billboard 200. At, a website which assigns a rating out of 100 to reviews from mainstream critics, the album received a score of 81, based on 39 reviews, indicating 'universal acclaim'. Gave 'Metals' a score of 7/10, writing 'Taken individually, each song is as sturdy as oak -- the guitars have a magnesium shimmer, and every instrument seems bathed in its own spotlight, especially Feist's vocals, which feel like they're being whispered directly into your ear.' In a positive review, Lindsay Zoladz of gave the album a 7.7 out of 10.

She noted that there was no '1234' on the album, which is the reason that 'it feels like such a refreshing and slyly badass statement of artistic integrity' and also that 'it doesn't reach The Reminder's heights.' Andrew Leahey of wrote that 'Feist's days as a provider of hip, trendy TV jingles may be over', and that ' Metals does its best work at a slower speed'. Elysa Gardner of gave the album 2.5 stars out of 4, and named 'The Bad in Each Other' and 'Caught a Long Wind' as the highlights of the album. Colors For Modern Fashion Nancy Riegelman Google Map. A mixed review from criticized most of the album for not having a 'real spark to it' and stated that ' Metals is too dull for [Feist] to overcome'. The album has received a number of accolades.

And named Metals as the best album of 2011. And named it the 17th and 29th best album of 2011, respectively. Named it the 29th best album of 2011. Feist was nominated for Best International Female Artist at the 2012 for Metals.

The album was named as a longlisted nominee for the on June 14, 2012. The album won the Polaris Music Prize making her the first female artist to win the award and, as of September 25, 2012, has sold 141,000 copies in the U.S.

As of January 2012 UK sales stand at 40,000 copies according to The Guardian. Sales outside of France between October 1, 2011 and September 30, 2012 have reached 313,400 copies according to bureauexport. Track listing [ ] No. Title Writer(s) Length 1. 'The Bad in Each Other' Leslie Feist 4:44 2.

'Graveyard' Leslie Feist,, 4:17 3. 'Caught a Long Wind' Leslie Feist, Mocky, Chilly Gonzales 4:54 4. ' Leslie Feist 3:24 5. 'A Commotion' Leslie Feist 3:53 6. 'The Circle Married the Line' Leslie Feist, 3:22 7. 'Bittersweet Melodies' Leslie Feist, Mocky 3:56 8. 'Anti-Pioneer' Leslie Feist 5:33 9.

'Undiscovered First' Leslie Feist 4:58 10. 'Cicadas and Gulls' Leslie Feist 3:16 11. 'Comfort Me' Leslie Feist 4:04 12. 'Get It Wrong Get It Right' Leslie Feist 3:39 Total length: 49:58 bonus track: No. Title Length 13.

'Pine Moon' 4:52 bonus track: No. Title Length 13.

'Woe Be' 3:13 Japanese Edition (UICO-1228) bonus tracks: No. Title Length 13. 'Woe Be' 3:13 14.

'Pine Moon' 4:52 15. ' (Acoustic)' 3:54 Total length: 62:17 Personnel [ ]. • Battan, Carrie (August 13, 2011)..

Retrieved October 10, 2011. Retrieved 2011-10-15. 12 August 2011. Retrieved 8 February 2012. • Breihan, Tom (2011-08-12)... Retrieved 2011-10-10. • ^ Phillips, Amy (2011-08-02)...

Retrieved 2011-10-10. Retrieved 2012-08-11. Retrieved 2011-11-09. Retrieved 2011-11-09. • Mike Hilleary (28 July 2011)... Retrieved 8 February 2012.

• ^ Jon Pareles (16 September 2011)... Retrieved 8 February 2012. • ^ Ryan Dombal (28 September 2011)... Retrieved 7 February 2012. Retrieved 2011-11-09. Retrieved 2011-11-09. Retrieved 2011-11-09.

• ^ Maerz, Melissa (2011-10-04).. Entertainment Weekly. Retrieved 2011-10-10. Retrieved 2017-11-02. • Jody Rosen (17 August 2011)... Retrieved 8 February 2012.

• ^ at Retrieved 2011-10-10. • ^ Leahey, Andrew. Retrieved 2011-10-10.

• Murray, Noel (2011-10-04).... Retrieved 2011-10-10. • Frank, Brendan (2011-10-03)... Retrieved 2011-10-10.

• ^ Zolads, Lindsay (2011-10-03)... Retrieved 2011-10-10. • Rosen, Jody (2011-10-04)... Retrieved 2011-10-10.

• ^ Jonathan Keefe (2 October 2011)... Retrieved 8 February 2012. • ^ Kamps, Garrett.. Retrieved 2011-10-10. • ^ Shriver, Jerry; Mansfield, Brian; Gardner, Elysa (2011-10-04).. Retrieved 2011-10-10.

Retrieved 2011-10-15. • Jon Pareles (15 December 2011)... Retrieved 8 February 2012.

• Robert Everett-Green; Brad Wheeler (26 December 2011)... Retrieved 8 February 2012.

29 November 2011. Retrieved 8 February 2012. 29 November 2011.

Retrieved 8 February 2012. 29 November 2011. Retrieved 8 February 2012. 12 January 2012.

Retrieved 8 February 2012. •., June 14, 2012. • Jason Lipshutz (25 September 2011)... Retrieved 26 September 2012. Retrieved 2011-10-08. Retrieved 2011-10-08. Retrieved 2011-10-15.

Retrieved 2011-10-15. Retrieved 2011-10-15. • (in French).. Retrieved 28 July 2014.

Retrieved 28 July 2014. Enter Metals in the search field and then press Enter. Retrieved 28 July 2014. If necessary, click Advanced, then click Format, then select Album, then click SEARCH • • •.

Retrieved 2012-08-08. Pitchfork Media.

March 20, 2012. Retrieved March 21, 2012.

Retrieved 2011-10-15. Retrieved 2011-10-15. Retrieved 2011-10-15. Retrieved 2011-10-15.

Retrieved 2011-10-15. Retrieved 2011-10-15. External links [ ] • at • at • by • by Martin de Thurah.

PLEASURE Feist April 28, 2017. Feist’s first album in six years reflects on secrets and shame, loneliness and tenderness, care and fatigue and is at it’s core a study on self-awareness. As the fourth full-length from the Canadian singer/songwriter, Pleasure builds off the warm naturalism of the Polaris Prize-winning Metals and emerges as Feist’s most formally defiant and expansive work so far. And while each album marks a departure from the next,Pleasure finds the 4-time grammy nominee again showing the extraordinary depth of her artistry. With its endless movement from austere stillness to frenzied intensity, Pleasure is both painfully intimate and impossibly vast, fine-spun and anarchic, spellbinding and shattering.

Recorded over the course of 3 months—Pleasure was co-produced by Feist with longtime collaborators Renaud Letang and Mocky. In addition to reaffirming Feist as a cagily inventive guitar player, the album threads her shapeshi fting and often haunting vocals into sparse and raw arrangements. From its very first seconds, Pleasure proves resistant to any imposed expectation.

Though it begins with a hush of stark guitar and understated vocals, the album-opening title track soon unfolds to encompass a plethora of moods, textures, and tempos–its shifts in tone both startling and hypnotic. Those tonal schisms endure throughout Pleasure, with Feist continually building moments of pain and wonder so extreme that the contrast feels thrilling and brutal.

The result is an album that isn’t about its title so much as the dialectic between opposing forces of positivity and negativity and how those forces connect people. With the guitar-driven rhythm and furious handclaps of “Pleasure” serving as the song’s sole percussion, the album remains mostly drumless for the next several tracks. For “I Wish I Didn’t Miss You,” Feist matches her lilting folk with a delicate but fierce meditation on longing (“I felt some certainty that you must have died/Because how could I live if you’re still alive?”). That longing gives way to a stunned melancholy on the sleepy and shimmering “Lost Dreams,” until a single whispered lyric (“Every night you go to sleep, a chance to have another dream”) allows a flash of hope on the fadeout.

But for Pleasure’s majestic centerpiece “Any Party,” Feist matches her meticulously detailed storytelling with a glorious, grandiose arrangement of heavy guitar and hard-hitting drums. With its swaying rhythm and campfire harmonies, the unflinchingly romantic track turns what first feels like a throwaway confession (“You know I’d leave any party for you”) into a powerfully exultant declaration of love. Often imbued with an unruly spirit revealing her punk roots, Pleasure sees Feist daringly and joyfully playing with genre. Along with slipping into the dreamy folk reverie of “Baby Be Simple,” the hazy blues of “I’m Not Running Away,” and the balm-like garage band soul of “Young Up,” the album easily drifts from the discordant choir of “A Man Is Not His Song” to the beautifully spooky poetry of “The Wind” (“And the trees for their 100 years/Lean north like calligraphy/And I’m shaped by my storming/Like they’re shaped by their storming”). But with “Century,”Pleasure reaches a climax that belies classification. Channeling a dark-night-of-the-soul torment that feels both utterly private and universal in scope, the epic track achieves a theatrical grandeur that peaks with some elegiac spoke n word from Jarvis Cocker: “Those nights that never end/When you believe you’ll never see the sunrise again/When a single second feels like a century.” On Pleasure, Feist shows a self-possession honed through decades of purposeful wandering in her musical life.

Originally from Nova Scotia, the artist born Leslie Feist got her start singing in youth choirs and joined in a Calgary-based punk band called Placebo at age 15. After a stint as the rhythm guitarist for Canadian indie-rock outfit By Divine Right, Feist set out on a musical path that included singing on Peaches’ full-length debut and being a founding member of Broken Social Scene, whose first album was the 2002 Juno Award-winning You Forgot It in People, as well as touring with both acts.

In 2004 Feist made her U.S. Debut with Let It Die, which featured “Mushaboom”, won the Juno Award for Best Alternative Rock Albumand Best New Artist, and garnered major critical acclaim.

Her 2007 follow-upThe Reminder debuted in the top 20 in the U.S. And was hailed by the Village Voice as a “great batch of simple, precisely arranged love songs—expertly produced, delectably sung,” with “1234”boosting the album’s sales to more than a million units internationally. Also including lead single “My Moon My Man,”The Reminder won Feist the 2007 Shortlist Music Prize (making her only the second woman to ever win the award). After a several-year hiatus—during which she co-created Look at What the Light Did Now, a documentary about the making of The Reminder and her subsequent tour—Feist returned with Metals in 2011. Metals was her highest charting album, debuting at #9 on Billboard, and was named Album of the Year by the New York Times as well as winning the Polaris Prize and four more Juno Awards. To date, Feist’s music has sold over 3 million units worldwide and amassed more than 500 million streams.

She’s also appeared onSaturday Night Live, sold out the Hollywood Bowl, and boasts the second-most-watched video in Sesame Street history.