Leslie Feist doesn’t owe the world a thing. Starting out as the female vocalist in the Canadian troupe, Broken Social Scene, launching a solo career captivated by the album The Reminder and pairing singles, “1234” and “I Feel It All”, and then morphing into something else entirely, it’s fair to say she’s paid some dues and been around the block once or twice. But the Feist we have today is not the Feist from The Reminder. The artistic transformation that ensued shed light on a seemingly internalized creative output seen on 2011’s Metals that turned some heads, if not entirely doing away with the iconic indie-pop image she created for herself. Like the pearl within the oyster, Pleasure brings a deeply personal and avant-garde approach to art as the follow up to Metals, resembling another drop in the river that flows further away from her former self. With songs like “Century” and “Pleasure” that drive with a gamut of percussion and distorted guitars, the catchy hooks and bouncy, cheerful lyrics of the past gave way to an elevated and exposed inspiration. Or even more so in opting for a bluesy-guitar or soulful and jazzy organ on numbers like “I’m Not Running Away” and “Young Up” does Feist truly come into her own form. And yet in a classic ‘the apple doesn’t fall far from tree’-like fashion, Feist and the acoustic guitar just can’t seem to parse with soft and soothing tracks like “Baby Be Simple”, “Any Party”, and “A Man Is Not His Song” that dive into the melodically flowing vocals and pairing acoustic guitar.