Thursday, June 01, 2006

2006-06 RAG Magazine

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regina spektor


Story: Monica Cady
She’s gonna bang on that piano bench with a drumstick and giggle sweetly before going into a dangerous rant about a boy who’s “so goddamn young.” Her pouty red lips and glamorous curls may fool you into thinking she’s gonna sing some kind of Celine Dion top-40 pop number, but that’s where you’re wrong.

This Russian-born Jewish New Yorker has the spunk of Tori Amos when she’s throwing a fit, the soulful heat of Fiona Apple getting heavy, the fairy-innocence of Björk, and the I’m-pretty-but-I’ll-kill-you flow of Poe. But that’s just scratching the surface of what 26-year-old Regina Spektor brings to her performance.

Her songs tell stories from various perspectives: divorcees, cancer patients and love-ridden souls. Whether the tales are autobiographical or not doesn’t really matter. Uh, and don’t ask Spektor because she really doesn’t want to talk about that. She prefers to think of these characters as just that, roles that she is playing and presenting. For that, she deserves an Oscar because the songs seem so personal that you’d swear young Spektor had experienced all these things herself. That’s where she gets you – making all this seem so real and sincere.

With her 2004 major label debut, Soviet Kitsch, Spektor proved that she isn’t afraid to take chances, and she was dubbed part of the East Village anti-folk movement. The single “Us” got major airtime on VH1 and was used in a UK advertisement, making Spektor a known name. Her intense piano melodies, off-kilter beats and angelic vocals partnered with honest, real life thoughts to make a powerful statement that she was strong, au fait and bold. Spektor even lent some beatbox-style ticks and pops, and made racket with everything from pianos, guitars and drumsticks.

This month, Spektor makes another artistic declaration with her 12-track LP Begin to Hope. From the get go, it’s clear that she has polished some of the dangerous curves of her last record. It’s something safer for conventional ears, but that’s mostly due to the glossy production elements. There’s still some raunchy punch for her typical fan base – little bags of cocaine, Wonder Bread and self- done haircuts populate the lyric pool.

While on the West Coast, Spektor agreed to take some time to e-mail RAG Magazine (our long distance bill could use the break), answering our questions, telling us what’s so cool about her latest project, and why she’d love for you to bring her some soymilk.

——Original Message——-
From: Regina Spektor
To: Monica Cady
Sent: Mon May 22 10:49:21 2006
Subject: RE: REGINA INTERVIEW

What was the biggest artistic challenge you face while creating Begin to Hope? i.e. Did you feel pressure (from yourself or outsiders) to top Soviet Kitsch or make something different?
Good question. I think for the most part I just wanted to have a chance to really work in the studio. That had never happened before. Everything before was always done quickly and there wasn’t much of a chance for me to grow as a producer. I love writing parts/arranging music, so this was my chance to do it, but I don’t think I felt pressure to do it. If anything, I think I put pressure on others to let me do it, haha ...

Press are saying you are not the same artist that emerged from the NYC circuit in 2001. Do you agree? What changes do you see in your music?
Haha, hmmm. What’s so fuckin’ different about me? Just kidding ... I think we change all the time ... I’m not even exactly the same person from year to year, so of course I change as a musician. It would be pretty horrific if I was the same musician today in 2006 as I was five years ago ... that would mean that all my experiences touring, traveling, living, watching world events unfold, listening to new music, looking at new art, etc. – all of that has not left a mark. That would suck. Then again, four of the songs on this record are some of my oldest songs, predating Soviet Kitsch. I’ve had people tell me my new songs are more mature than my previous records. If by mature, they mean old, then yeah :-) I don’t know ... people are too busy trying to classify/identify ... They should just listen, see if they like it.

What about Begin to Hope makes you most proud or excited?
I just love the idea of people hearing these songs captured like that. The sound of it is amazing to me – quality and the arrangements. It’s my first time being able to see the songs fulfilled like that – so fully arranged. It doesn’t mean that these are the definitive versions, just that they are special versions.

With Begin to Hope, in addition to piano, you incorporate electric guitar and drum machines. You played some guitar live on tour. At what age did you get interested in guitar and drums?
I grew up on the Beatles, so I always loved guitars and drums. But I think playing a bit of guitar myself came from necessity – you don’t get to have a piano around at any time. They are heavy, sometimes hard to come by on the road, but there are always people around who have a guitar.

Why was it important to you to add guitar and drums to the record?
Well, not so much guitar. I mean there’s only two songs out of 12 with guitar on it. But drums were very important. I have a huge love for beats, drums, loops, all that. It feels so good in my body to have a beat. Six of the songs have drums on them, or some sort of machines.

Your lyrics are extremely detailed, witty, fun and sobering. Some artists say their lyrics are afterthoughts that simply work with their melodies. How essential are your lyrics when it comes to developing your song structures? Do you develop the music so that it fits with the lyrics, or vice versa?
That is so kind of you to say that, about the words in my songs. Lyrics are so important to me, usually I write everything at the same time, though ... so it all kind of forms together. I guess there are exceptions. Hmmmmm … I don’t know if that was a very good answer on my part.

You have compared telling the stories within your songs to being an actor who plays different characters. Some of your songs are extremely effective in this sense (“Chemo Limo” from SK). Do you enjoy playing out certain emotions more than others?
None that I have noticed. I think I just enjoy the whole thing – being someone else, feeling empathy, or just general exploring of their character. It all depends on who they are.

You seem to have a great artistic relationship with The Strokes. On this record, you work with Nick Valensi (“Better”). What do you think it is about both your musical styles/artistic approaches that has led to these partnerships?
Well, even before I met them, I had such love and respect for their music. Then they took a huge chance and took me on my first-ever tour with them. That’s something no one had ever done for me ... just listening to them every night – their songs and musicianship are on such a level, that most bands can’t come close. The counterpoint in the songs that Julian writes is staggering, and then the band plays it with such passion and precision. Nick is like a guitar surgeon sometimes – so technically precise. In a lot of ways what attracted me to their music was the same kind of feeling I got from listening to classical music – that pulsing feeling, with very composed/intellectual elements.

So many people dream of being a musician and playing for crowds. What is the best part of doing what you do?
I love the amazing amount of energy I get from the people who come to my shows. They are very giving, very respectful and open minded. I love that I get to make something and bring it to people, and they take the time to accept it or at least try to accept it. I am so fuckin’ lucky.

To what do you attribute your success up to this point? (i.e. hard work, supportive friends/family)
Wow ... all of that ... most is from always having had amazing people around me – amazing family, teachers, friends.

Do you set goals for yourself or just let things happen/flow?
I set hopes for myself – like I hope my music gets better. I hope I become better at life, at communicating, at helping people – those kinds of hopes, but nothing specific, I just go with whatever is going on.

What do you do when you’re not thinking about or working on music? (Read? Recommend any good books? Watch TV, Play poker, etc.)
It depends where I am. At home, I hang out with friends and family. I love movies. I read books, walk around a lot. I love walking everywhere when I’m in NYC. On the road, it’s different. I meet a lot of new people. I stare a lot. I’m a big into staring. I visit friends I have in the cities I tour, and I end up eating a bunch of crap on the road. I spend my time searching for soymilk. :-)>

Thank you for your time! You rock!
Thank you very much, take care!!! – Regina


Begin to Hope hits stores June 13.

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