Quote

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.

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
Years
Stop
Like
Year
Inconceivable
Everyone
Hadn
Around
Gotten
Stills
Legs
Still
Seemed
Back
Looked
Long
Land

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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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I don't think that village idea of actually knowing what you're contributing to the whole exists anymore.
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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 guess there are a lot of people out there that think they're supposed to define themselves in isolation, but that's not necessarily the case.
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Everything becomes closer once you realize that the world is only as far away as a nap and a meal.
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So, I'm on Sesame Street, walking around with all these monsters, Elmo and his buddies, a whole bunch of chickens, a whole bunch of penguins and a number four dancing about. It was just pure joy, simple, ridiculous fun, stupid joy. There's no irony. Sesame Street is just a crazy great place to be.
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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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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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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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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 never really lived outside of the city growing up, but I'm always looking in between the lines of the city, and I magnetize over to the green spots.
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I was in a crazy, private, awesome bubble again, and that's when I started to write.
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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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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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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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I think I prefer the constant renewal. It's almost like sandpapering down any details or any contour of familiarities.
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There's something about live recordings now that's too hi-fi.
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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 realize time isn't just a period that you tell a story within - it becomes a major character in the film. There is no beginning, middle, end because there is always stuff beginning and ending simultaneously.
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With music, I wasn't curious anymore. There was no dialogue. By the time I stopped, I knew it wasn't going to be gone forever, but it just wasn't the right time for me to care about that.
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