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Feist's fourth album "Metals" departs from popular hit

File Picture taken on February 16, 2010 of Canadian Folk and Alternative artist Feist (right) performs after a medal ceremony of the Vancouver 2010 Winter Olympics at Whistler Medal Plaza venue in Whistler. When Apple lifted one of her songs for an iPod ad, Leslie Feist admits she was knocked sideways by success. For her new album "Metals," the Canadian went searching for silence and a clear horizon, recording in an oceanside barn in California. OLIVIER MORIN/AFP/Getty Images

(CBS) Leslie Feist -- better known by her last name Feist -- is moving past the "1,2,3,4," and heading into some heavy-hitting "Metal." The 35-year-old musician released her latest 12-track album today.

Pictures: Feist at the Juno Awards

"Metals," Feist's fourth studio effort, strips away the lighthearted qualities that mainstream audiences have come to expect from the singer.

While "1,2,3,4" -- her famous track that was heavily featured on an iPod commercial -- helped propel Feist's career and garnered her four Grammy nominations for "The Remedy," it also was a break from the typical recordings she made. The track off of the "The Remedy" was a pop fluke from the rest of her sometimes folky, sometimes jazzy music.

"The Grammys, and the magnitude of that spotlight, it wasn't a place where I felt at home. Like what I do doesn't really happen there," Feist said in an interview with the Associated Press. "It's such a potent and brief moment, and it doesn't really speak to the truth of what touring and being a musician is. It's mostly fanfare, inflated and very intense. I wasn't feeling very comfortable in that kind of setting."

"Metals" ushers in a era of deeper music, in which the Canadian singer-songwriter ponders inner struggles and her relationships with others.

"None of the chirpy, sun-flecked ditties ('Mushaboom') you associate with Feist (first name: Leslie) are here," the Washington Post writes in their review of the album. "Instead, there are titles such as 'Bittersweet Melodies,' 'Graveyard,' 'Get It Wrong, Get It Right' and 'The Bad in Each Other,' that ponder personal security, roads not taken and the impulse for goodhearted people to do bad things. 'A Commotion' sounds like Nick Cave was hired to arrange it, with a stout male chorus sharpening the tune to a shrill point."

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