On October 4, Feist returns with her highly anticipated new album, Metals, out on Cherrytree/Interscope. It's the follow-up to her 2007 breakout The Reminder. The 12-song album was recorded in Toronto and Big Sur, with Feist collaborating with frequent partners in crime Chilly Gonzales and Mocky, as well as producer Valgeir Sigurðsson.
The Original Gay Porn Community - Free Gay Movies and Photos, Gay Porn Site Reviews and Adult Gay Forums
-
Welcome To Just Us Boys - The World's Largest Gay Message Board Community
In order to comply with recent US Supreme Court rulings regarding adult content, we will be making changes in the future to require that you log into your account to view adult content on the site.
If you do not have an account, please register.
REGISTER HERE - 100% FREE / We Will Never Sell Your InfoTo register, turn off your VPN; you can re-enable the VPN after registration. You must maintain an active email address on your account: disposable email addresses cannot be used to register.
Feist
- Thread starter miaedu
- Start date
That70sJoe
JUB Addict
- Joined
- Dec 7, 2009
- Posts
- 3,698
- Reaction score
- 0
- Points
- 0
Cool. Will check it out.
The Bounty of Solitude
LESLIE FEIST, the songwriter who records as Feist, led a visitor up a winding trail to a hilltop with expansive views of treetops and a reservoir. Bounding ahead were her two mongrel dogs: the white Sasha, described by her owner as “hyperemotional, sometimes gets depressed,” and the black Bentley, who’s “just out for a good time.” Feist added, “They’re both like me.”
But this was, she said, the lookout she had in mind, in a forest reserve near her country house north of Toronto, which is her retreat from a whirlwind pop success. The song she was quoting, “Get It Wrong, Get It Right,” ends her new album, sketching a bucolic setting over tinkling percussion as she sings “Got a nest to build/String and grass/Leave the past.” It’s a moment of solace after songs full of sorrow, turmoil and loneliness that add up to Feist’s best and deepest album.
Hanging on one wall at her house is a sampler with lines from Oliver Wendell Holmes: “Fame is the scentless sunflower with gaudy crown of gold/But friendship is the breathing rose with sweets in every fold.”
“Metals,” which is due for release on Oct. 4, simply ignores all the glossy, computerized, impersonal pop of the 21st century; it’s made for intimacy, not for mass-market broadcast. Fans had been waiting for it. When Feist’s new single, “How Come You Never Go There,” was released online on Aug. 12, it got as much attention as the likes of Kanye West and Jay-Z, topping popularity lists at sites like Pitchfork and the Hype Machine.
“I always think about how I’m in my room alone writing it, and eventually most people listen to music alone,” Feist said. “So there’s actually a quiet little direct line between writing and listening. It’s a strange bubble of solitude, because you’re linked, but you don’t know each other, yet you’re communicating.”
The album was hand-played and largely recorded live in the studio, with the dynamics of musicians performing together in real time. At a time when most pop recordings compete to maximize volume, “we make really soft records,” said Robbie Lackritz, her recording engineer and manager. “It draws you into the record a lot more. If we were making this record by modern-day digital standards, it would be really terrible sounding, because there are so many songs that have an arc from beginning to middle to end.”
The album has some of the hushed, lambent ballads that drew listeners to Feist’s previous albums, but it also gets unapologetically loud. Unlike her previous albums it opens not with a plaint but with a stomped drumbeat and a barbed electric-guitar line, with a song about a couple who bring out “The Bad in Each Other.”
“Metals” doesn’t proffer anything resembling “1234,” the worldwide hit from Feist’s 2007 album, “The Reminder.” That song moved from an Apple Nano commercial to the pop charts, and it brought Feist, with her third album, a Grammy nomination for best new artist; she was showered with Juno awards, Canada’s Grammys, in 2008. Feist’s 2005 album, “Let It Die,” had done well in Canada, but “1234” was an international sensation. By the end of her tour Feist was playing hockey arenas.
“I’ve never in my whole life thought about singles,” she said. “ ‘1234’ wasn’t a single, it was just the kind of thing that was singled out. It’s a wild stallion. It’s an unharnessable unknown. It was just a song that became more well known than anything else I ever made. It made me think about what that is, what a single is, or what it is that a single can do to your own natural path. It kind of veered me around. I just fought the flow a little bit, trying to get back on my path the whole time instead of just letting it take me where it might. I was happy where I was already headed.”
Feist, 35, had been performing on the indie-rock circuit since the early 1990s: in a teenage punk band, with the rapper Peaches, with the indie-rock bands By Divine Right and Broken Social Scene, and then on her own, recording and performing virtually nonstop. The worldwide “Reminder” tour left her drained.
NEXT PAGE »
http://www.nytimes.com/2011/09/18/arts/music/feists-solitary-road-to-new-album-metals.html
LESLIE FEIST, the songwriter who records as Feist, led a visitor up a winding trail to a hilltop with expansive views of treetops and a reservoir. Bounding ahead were her two mongrel dogs: the white Sasha, described by her owner as “hyperemotional, sometimes gets depressed,” and the black Bentley, who’s “just out for a good time.” Feist added, “They’re both like me.”
But this was, she said, the lookout she had in mind, in a forest reserve near her country house north of Toronto, which is her retreat from a whirlwind pop success. The song she was quoting, “Get It Wrong, Get It Right,” ends her new album, sketching a bucolic setting over tinkling percussion as she sings “Got a nest to build/String and grass/Leave the past.” It’s a moment of solace after songs full of sorrow, turmoil and loneliness that add up to Feist’s best and deepest album.
Hanging on one wall at her house is a sampler with lines from Oliver Wendell Holmes: “Fame is the scentless sunflower with gaudy crown of gold/But friendship is the breathing rose with sweets in every fold.”
“Metals,” which is due for release on Oct. 4, simply ignores all the glossy, computerized, impersonal pop of the 21st century; it’s made for intimacy, not for mass-market broadcast. Fans had been waiting for it. When Feist’s new single, “How Come You Never Go There,” was released online on Aug. 12, it got as much attention as the likes of Kanye West and Jay-Z, topping popularity lists at sites like Pitchfork and the Hype Machine.
“I always think about how I’m in my room alone writing it, and eventually most people listen to music alone,” Feist said. “So there’s actually a quiet little direct line between writing and listening. It’s a strange bubble of solitude, because you’re linked, but you don’t know each other, yet you’re communicating.”
The album was hand-played and largely recorded live in the studio, with the dynamics of musicians performing together in real time. At a time when most pop recordings compete to maximize volume, “we make really soft records,” said Robbie Lackritz, her recording engineer and manager. “It draws you into the record a lot more. If we were making this record by modern-day digital standards, it would be really terrible sounding, because there are so many songs that have an arc from beginning to middle to end.”
The album has some of the hushed, lambent ballads that drew listeners to Feist’s previous albums, but it also gets unapologetically loud. Unlike her previous albums it opens not with a plaint but with a stomped drumbeat and a barbed electric-guitar line, with a song about a couple who bring out “The Bad in Each Other.”
“Metals” doesn’t proffer anything resembling “1234,” the worldwide hit from Feist’s 2007 album, “The Reminder.” That song moved from an Apple Nano commercial to the pop charts, and it brought Feist, with her third album, a Grammy nomination for best new artist; she was showered with Juno awards, Canada’s Grammys, in 2008. Feist’s 2005 album, “Let It Die,” had done well in Canada, but “1234” was an international sensation. By the end of her tour Feist was playing hockey arenas.
“I’ve never in my whole life thought about singles,” she said. “ ‘1234’ wasn’t a single, it was just the kind of thing that was singled out. It’s a wild stallion. It’s an unharnessable unknown. It was just a song that became more well known than anything else I ever made. It made me think about what that is, what a single is, or what it is that a single can do to your own natural path. It kind of veered me around. I just fought the flow a little bit, trying to get back on my path the whole time instead of just letting it take me where it might. I was happy where I was already headed.”
Feist, 35, had been performing on the indie-rock circuit since the early 1990s: in a teenage punk band, with the rapper Peaches, with the indie-rock bands By Divine Right and Broken Social Scene, and then on her own, recording and performing virtually nonstop. The worldwide “Reminder” tour left her drained.
NEXT PAGE »
http://www.nytimes.com/2011/09/18/arts/music/feists-solitary-road-to-new-album-metals.html
Feist's Upcoming Tour to Kick Off at Coachella
Feist is heading out on tour in April in support of her fourth studio album, 2011's "Metals." The singer-songwriter will be playing with Timber Timbre, Bon Iver and the Low Anthem during different stretches of the tour, which kicks off at Coachella on April 14.
Playing through the U.S. and Canada until Aug. 4, Feist will also be stopping by the New Orleans Jazz & Heritage Festival, the Pitchfork Festival in Chicago and Washington's Sasquatch Festival. Following her North American tour, Feist has a short string of dates scheduled throughout Europe.
Feist also has an upcoming collaboration with Mastodon in the works. The limited-edition 7-inch single, which features the two artists covering each other's songs, will be released on Record Store Day, April 21.
Full list of Feist tour dates:
April 14: Indio, Cali. (Coachella)
April 21: Indio, Cali. (Coachella)
April 22: Phoenix, Ariz (Orpheum Theatre) with Timber Timbre
April 23: Tucson, Ariz. (TCC Arena) with Bon Iver
April 25: Marfa, Texas (Crowley Theatre) with Timber Timbre
April 26: Austin, Texas (Stubb's: Outdoors) with Timber Timbre
April 28: New Orleans, L.A. (New Orleans Jazz & Heritage Festival)
April 30: Indianapolis, Ind. (Egyptian Room (Old National Centre) with Timber Timbre
May 1: Nashville, Tenn. (The Ryman Auditorium) with Timber Timbre
May 2: Asheville, N.C. (Thomas Wolfe Auditorium) with Timber Timbre
May 3: Raleigh, N.C. (Memorial Auditorium at Progress Energy Center for the Performing Arts) with Timber Timbre
May 5: New York, N.Y. (Radio City Music Hall) with Timber Timbre
May 7: Boston, Mass (House Of Blues) with Timber Timbre
May 8: Philadelphia, Pa. (Academy Of Music) with Timber Timbre
May 9: Washington, D.C. (The Strathmore) with Timber Timbre
May 11: Burlington, Vt. (The Flynn Theater) with Timber Timbre
May 28: George, Wash. (Sasquatch)
May 29: Boise (Idaho Botanical Garden)
May 31: Morrison, Colo. (Red Rocks) with Bon Iver
June 2: Minneapolis, Minn. (Zoo Amphitheater) with The Low Anthem
June 3: Madison, Wis. (Orpheum) with The Low Anthem
June 5: Ann Arbor, Mich. (Ann Arbor Summer Festival) with The Low Anthem
June 6: Columbus, Ohio (Wexner Center) with The Low Anthem
June 8: Manchester, Tenn. (Bonnaroo)
June 22: Calgary, AB, Canada (Sled Island Festival)
June 23: Saskatoon, SK, Canada (Saskatoon Jazz Festival)
July 4: Winnipeg, MB, Canada (Winnipeg Folk Festival)
July 13: Chicago, Ill. (Pitchfork Festival)
July 14: Pittsburgh, Pa. (Stage AE)
Aug. 4: Montreal, QC, Canada (Osheaga)
Aug. 8: Oslo, Norway (Oya Festival)
Aug. 10: Gothenburg, Sweden (Way Out West Festival)
Aug. 12: Helsinki, Finland (Flow Festival)
Aug. 15: Hamburg, Germany (Stadtpark)
Aug. 16: Hasselt, Belgium (Pukkelpop)
Aug. 17: Biddinghuizen, Holland (Lowlands Festival)
Aug. 19: Brecon Beacons, Wales (Green Man Festival)
Aug. 21: Cologne, Germany (Tanzbrunnen)
Aug. 22: Stuttgart, Germany (Freilichtbuhne Killesberg)
http://www.billboard.com/#/news/feist-s-upcoming-tour-to-kick-off-at-coachella-1006515952.story
Feist is heading out on tour in April in support of her fourth studio album, 2011's "Metals." The singer-songwriter will be playing with Timber Timbre, Bon Iver and the Low Anthem during different stretches of the tour, which kicks off at Coachella on April 14.
Playing through the U.S. and Canada until Aug. 4, Feist will also be stopping by the New Orleans Jazz & Heritage Festival, the Pitchfork Festival in Chicago and Washington's Sasquatch Festival. Following her North American tour, Feist has a short string of dates scheduled throughout Europe.
Feist also has an upcoming collaboration with Mastodon in the works. The limited-edition 7-inch single, which features the two artists covering each other's songs, will be released on Record Store Day, April 21.
Full list of Feist tour dates:
April 14: Indio, Cali. (Coachella)
April 21: Indio, Cali. (Coachella)
April 22: Phoenix, Ariz (Orpheum Theatre) with Timber Timbre
April 23: Tucson, Ariz. (TCC Arena) with Bon Iver
April 25: Marfa, Texas (Crowley Theatre) with Timber Timbre
April 26: Austin, Texas (Stubb's: Outdoors) with Timber Timbre
April 28: New Orleans, L.A. (New Orleans Jazz & Heritage Festival)
April 30: Indianapolis, Ind. (Egyptian Room (Old National Centre) with Timber Timbre
May 1: Nashville, Tenn. (The Ryman Auditorium) with Timber Timbre
May 2: Asheville, N.C. (Thomas Wolfe Auditorium) with Timber Timbre
May 3: Raleigh, N.C. (Memorial Auditorium at Progress Energy Center for the Performing Arts) with Timber Timbre
May 5: New York, N.Y. (Radio City Music Hall) with Timber Timbre
May 7: Boston, Mass (House Of Blues) with Timber Timbre
May 8: Philadelphia, Pa. (Academy Of Music) with Timber Timbre
May 9: Washington, D.C. (The Strathmore) with Timber Timbre
May 11: Burlington, Vt. (The Flynn Theater) with Timber Timbre
May 28: George, Wash. (Sasquatch)
May 29: Boise (Idaho Botanical Garden)
May 31: Morrison, Colo. (Red Rocks) with Bon Iver
June 2: Minneapolis, Minn. (Zoo Amphitheater) with The Low Anthem
June 3: Madison, Wis. (Orpheum) with The Low Anthem
June 5: Ann Arbor, Mich. (Ann Arbor Summer Festival) with The Low Anthem
June 6: Columbus, Ohio (Wexner Center) with The Low Anthem
June 8: Manchester, Tenn. (Bonnaroo)
June 22: Calgary, AB, Canada (Sled Island Festival)
June 23: Saskatoon, SK, Canada (Saskatoon Jazz Festival)
July 4: Winnipeg, MB, Canada (Winnipeg Folk Festival)
July 13: Chicago, Ill. (Pitchfork Festival)
July 14: Pittsburgh, Pa. (Stage AE)
Aug. 4: Montreal, QC, Canada (Osheaga)
Aug. 8: Oslo, Norway (Oya Festival)
Aug. 10: Gothenburg, Sweden (Way Out West Festival)
Aug. 12: Helsinki, Finland (Flow Festival)
Aug. 15: Hamburg, Germany (Stadtpark)
Aug. 16: Hasselt, Belgium (Pukkelpop)
Aug. 17: Biddinghuizen, Holland (Lowlands Festival)
Aug. 19: Brecon Beacons, Wales (Green Man Festival)
Aug. 21: Cologne, Germany (Tanzbrunnen)
Aug. 22: Stuttgart, Germany (Freilichtbuhne Killesberg)
http://www.billboard.com/#/news/feist-s-upcoming-tour-to-kick-off-at-coachella-1006515952.story
ChickenGuy
Likes cock.
No thread about Feist is complete without....
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
. . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . .
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
