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Because there's just so much in a day now, I keep writing in much more abstract terms, like I don't try to write about what happened anymore. It would be impossible.

Feist

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Feist
Age: 48
Born: 1976
Born: February 13
Actor
Musician
Recording Artist
Singer
Singer-Songwriter
Amherst
Nova Scotia
Leslie Feist
Much
Terms
Would
Impossible
Like
Happened
Term
Write
Keep
Writing
Abstract
Trying
Anymore

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I'd hear some beautiful Sade or Kings Of Convenience ballad remixed in a club and I liked that these simple little songs seemed to be masquerading. They had put on superhero costumes, got all beefy, and here they were on the dancefloor. I was interested in that. I can't make electronic beats, so I leave it to the pros like Boys Noize and Chromeo.
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It may be years until the day My dreams will match up with my pay.
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There's real potency in metal. Metal fans love metal as if it's a nation they would fight for. It's not diluted by pop culture.
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But that constant adjustment and adaptation to your new environment, all the variables are the same. There's always a promoter, there's always a rider, there's always a shower, and there's always a stage.
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There are certain parts of chords that resolve things and tie a bow, and others that keep things open and unanswered.
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You hit a guitar, you hit a note, you hit a drum, you hit an organ. Meat and potatoes. Simplicity. Not getting too caught up in little tweezers of perfection.
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I've always been a bit wary of keyboards because there's an invisibility to it - you're not really hitting anything.
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I think I prefer the constant renewal. It's almost like sandpapering down any details or any contour of familiarities.
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The group-effort sound in recording of Sea Lion is like, you really hear all the people in the room and hear them interlocking. Theres a real freight-train energy of all these people at the same time playing.
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There's something about live recordings now that's too hi-fi.
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I don't think that village idea of actually knowing what you're contributing to the whole exists anymore.
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A year's a long time, but it also flickers past in no time at all.
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I think that's more a reflection of the fact I've never been a student of any particular school of writing, or even listening.
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When I'm in a city that's just clean, concrete lines, I get really short of breath and confused. It's much more interesting to me when nature is creeping back and tearing the mortar apart between the bricks.
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If you calculate every single thing you could possibly need in your life, you would need no more than 200 people to keep all that afloat: a doctor, food, wine, cheese-eating friends, the person who makes paper, the shoemaker.
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If you keep bashing your head against the same wall, at some point you're going to fall over and be still for awhile.
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No matter who weaves in and out of your life, regardless of the quality of those deep friendships and familyships, I'm the only common denominator at this point who's been with me the whole time. And there's this sense of trying to make sense of that ultimate solitude. It's not a negative or even a positive. It's just a fact.
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Well, there's just some universal truths in a way that I've just observed to be true. You read Voltaire. You read modern literature. Anywhere you go, there's these observations about romantic love and what it does people, and these rotten feelings that rarely are people meaning to do that to each other.
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I said I'd stop for a year, which was inconceivable to me and everyone around me. It seemed like so long. But then, after that year, I looked up and I still hadn't gotten my land legs back at all.
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Songwriting is a really fortunate skill to have to frame living and to find new ways to observe things you're going through.
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