Feist's 'Pleasure' Features Unexpected Mastodon Sample

Feist's Pleasure arrives next week and fans have already heard the skeletal title track and "Century," featuring an eery poem recited by former Pulp frontman Jarvis Cocker. In a new interview with Pitchfork, Feist reveals that a sample of heavy metal outfit Mastodon's "High Road" is used for the outro of her own "A Man is Not His Song."

Feist and Mastadon are no strangers to working together. They released a Record Store Day split single in 2012 that featured them covering one another. The choice to include the Georgia metal band in her 2017 comeback was a no-brainer once she figured out broader themes:

I wanted a sonic representation of the feminine/masculine binary, and Mastodon is like a flamethrower of guy-sound and feeling. It felt right at the end of this observation that a man is not his song, and nothing is really what it purports to be. I know a lot of men, and a lot of them write songs, and I know the difference between what they are and what they sing. And it’s same for me—there is your pedestrian voice and your maker’s voice, and it just felt notable to observe that some people can be subsumed by the voice they’ve made, and others keep it in check.

She goes on to note that artists often rely on this alter ego of sorts for their work, but she's never felt inclined to do so. "It was because I didn't ever feel entitled to really play-act. I barely felt entitled to take up the space I took up in the world," she added. "When I was young I was pretty shy. I really thrived as an underdog."

The calculated decisions—like sampling Mastodon—allow Feist's long awaited album to exist. "It was about wanting to make sure I was making another record because I needed to do it and not because it's just what I've done so far," she says. 

Feist elaborates: 

I sat around waiting to be struck by lightning, to be compelled; it was a quiet reckoning of whether or not this was gonna be an authentic need in me. Eventually I realized that something new might come, but it’s not ever gonna replace this [musical] language that I’ve developed with myself. You can’t really just walk away from that, but I was willing to. That’s the point.

Read through her whole interview with Pitchfork here

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