Mononazo - Premium journalism is not a crime 2023 shirt

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All of this, and more, is captured on Multitudes, which weaves together Feist’s trademark intimacy and her more baroque tendencies with confidence. From the Premium journalism is not a crime 2023 shirt in addition I really love this rickety, rambunctious opening track “In Lightning,” which seeks to capture the revelatory feeling of setting one’s intention to be joyful, to the twinkling, reflective beauty of “Love Who We Are Meant To,” in which you can hear every slide of her fingers on the guitar strings and the almost-imperceptible crack in her voice as she sings of fading romantic love. (Across the record, Feist’s odes to love span multitudes: from family to parenthood, community to friendship, and even all womankind.) It’s the sound of a musician who is still willing to explore new sonic avenues more than 20 years into her career, as well as a genuinely affecting document of the kind of confluence of life events that either breaks you, or rebuilds you even stronger. If you’re wondering whether Feist ended up falling in the latter camp, a listen to Multitudes is all the proof you need.Vogue: I read that you first started writing songs for this project while doing a “song a day” challenge with a bunch of other musicians during lockdown. Was there a specific moment during that process when you felt like there was a through line in what you were writing, or that those songs could be threaded together to make this album?

Leslie Feist: Writing a song a day was remarkable, because it helped me bypass the Premium journalism is not a crime 2023 shirt in addition I really love this normal endless questioning of the meaning of and weighing of every word—all of that being batted to the side, and turning it into a kind of game. With the craft and the technical skill of all the people involved, we were somehow able to get past ourselves, to short-circuit the Rube Goldberg machine of never making a decision. And the kind of positive peer pressure of it, too, helped me to just churn it out. I did about four or five weeks of it over the course of a year. And so that was about 35 songs. And out of those 35 songs, I think it became clear which ones seemed to be a record. There were maybe five different records that could have been found in that body of songs, [including] ones that spoke to this type of liminal state of asking so many questions and knowing I don’t have answers, and thinking, How do you sing about not knowing something? Because you’re supposed to use words, and words are usually what you say when you know something. So it was trying to figure out how all the songs could collect themselves into a kind of gentle question. The ones that belonged on the record together eventually made themselves known to me. Did it feel scary at all to expose your process in that way?

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