2009-12-04 Philadelphia, PA | World Cafe

Interview and live in-studio session, available from npr.org

The Calculation

Laughing With

Eet

The Sword and the Pen

2009-06-21 The New York Times

LINK

New Angles For a Woman Of Many Sides

By ALAN LIGHT

[...]

She arrived at the building on a drizzly afternoon in June, just back from a promotional tour in Europe, where she took 16 flights in 8 days. She seemed com- forted by the sights of her hometown. Ar- riving at the observation deck, she actu- ally said, "Wow — the Statue of Liberty!"

For an hour or so she gleefully picked out landmarks, until the rain drove her in- side. Taking one final glance through the windows, she said, "It's just nice being able to look around and see things from a new angle."

[...]

Ms. Spektor enjoyed a new kind of ex- posure when the tough yet vulnerable love song "Fidelity," from "Begin to Hope," was used in an online video by the Courage Campaign, in protest of last year's Propo- sition 8 vote rejecting gay marriage in Cali- fornia. [...]

Rick Jacobs, the founder and chairman of the Courage Campaign, called "Fidelity" the anthem of the movement. "Minds are changed through storytelling," he said, "and Regina's song is a great story." Ms. Spektor said that she considers opposition to gay marriage "as embarrassing as white-only drinking fountains," and that the video is "the nicest use of my song ever."

[...]

"I've always been fascinated with faith and religions," Ms. Spektor said over cof- fee in a Gramercy Park restaurant, a few weeks before the visit to the Empire State Building. "Sometimes I'm sarcastic about it, and sometimes I'm in awe. Sometimes I feel very connected, and sometimes I feel angry at it. I don't have a stance or a mani- festo about any of it, but I'm perpetually looking at it differently, like a kaleido- scope."

In person Ms. Spektor often comes off like someone who lives in her own world. She remains close to her family and seems overwhelmed by the machinery of her ca- reer. Though she is a notorious perfection- ist with her work, she sometimes gives the sense that being a recording artist just kind of happened to her. ("My world is so weird," she said breathlessly while rushing to an appointment.)

Asked about the new album's title, she responded with typical expansiveness: "I've been thinking a lot about space. It was one of those slow-motion realizations how little we are, how far we are from ev- erything else in our solar system. This idea of distance started kind of haunting me. How do you go forth and accomplish things but not end up leaving everything you started out with in the dust?"

[...]

"I write a tiny fraction of what I used to write," she said. "My only job used to be to just write songs, and that was a really nice job to have, but only a tiny amount of people heard those songs, and I didn't make a living from it, and eventually I begged my parents to let me move back into my room."

With "Far" Ms. Spektor worked with four different pro- ducers and ventured into studios outside of New York for the first time. "I wanted a master class situation," she said. "It hit me that I'm not going to get to make a record every half a year, so I might as well work with a lot of people when I do."

[...]

Ms. Spektor thought for a minute when this was pointed out then said that while the shift wasn't intentional, it seemed logical. "Maybe I am skipping over the city and going from very personal things to the world, from internal experience to giant, far-away-from-space ex- perience," she said. "Maybe it's because I haven't been in the city so much because I've been trav- eling and on the road. Also, I used to be such a militant city-ist, but more and more I've seen forests and nature and oceans, and I don't know anymore if this is the awesomest way to live.

"I really thought it was the only way to live. I grew up in apartments, you know? I still get freaked out just being in houses."

2009-06-19 New York, NY | Soundcheck (WNYC)

Interview and live in-studio performance, available to stream from newsounds.org

Laughing With
One More Time with Feeling
Man of a Thousand Faces

2009-05-20 interview - XFM X-posure with John Kennedy

On meeting Chrissie Hynde, riding with Seymour Stein, and Far-making time

Download

2009-05-18 Spin

LINK

One of my favorite songs is “Blue Lips,” a slow building tune with lyrics about all things blue. Can you tell me what that song is about?

Well, that’s really hard for me. I don’t really think of songs in those terms. I don’t sit down with an agenda and go, “I’m going to write a song about…” you know? I just start playing a little bit on the piano, and then I start singing a little bit, and then it’s over — and there’s a song. Sometimes, very rarely, I can trace the ancestry of a lyric, and I’ll be like, “Oh, it’s a combination of that person I saw in the street and that one painting I saw in a museum, and that one movie I saw,” or something like that. But for the most part, it’s not really clear even to me. People think that if you can’t explain a linear meaning, then the song’s meaningless, or that you just put words together because they sound nice. But it’s not that either. It feels completely meaningful — it all means very exact stuff. I even feel like it’s super important to use “a” instead of “the” in some songs, you know? I’ll be moving tiny little things around in my mouth, and then I’ll get them just right and it sort of freezes — and that’s fate.

[...]

On “Folding Chairs,” you bark like a dolphin.

I love making noises. It comes out of the fact that when I started writing songs, I loved Radiohead, Tom Waits, and the Beatles, and they all have these sounds, these clangs. But in my early stuff, and especially my performances, it was really limited to just me and a piano. I have this natural desire to just climb out of my skin and become five people making noises, orchestrating all these parts together. I could have just sampled a dolphin, but barking is so much more fun to do.

[...]

The album is definitely all over the place. But compared to your other records, it feels more upbeat. What’s making you so happy these days?

It’s so funny that you’re saying that, because I was like, “is this the heaviest record I’ve ever made?” I have no grip on reality. I’m so non-objective. Ah, the world is sooooooooo cool. Some of the songs are older than those on [2006’s] Begin to Hope, and some songs that are older than [2004’s] Soviet Kitsch. I have so many songs and I just try to collect them all, and glue them all together. And they span eight years. Some were written two weeks before the end of recording the album, and some were written eight, or five, or three years ago. It’s funny when someone will say something like, ‘Oh, you sound like you’ve grown so much, you’ve matured so much musically,” then reference a certain song I wrote when I was 18. Hey, maybe I was more mature then.

2009-05-12 Entertainment Weekly

LINK

Did you have a different mindset going into record this album than the last one?

Some of the mindset was the same, which is always the same: Just a really strong spirit of adventure hits me, and I become a little explorer person. I've got my backpack, I've got my water bottle, and I'm off to f--ing god knows where -- the desert, the mountains, the sea, touching everything, trying everything, following tangents and really just being in complete mad scientist mode. That's always the same, I think. But it gets more and more so with each record. I started out being a real purist. In the beginning, I was like, Records are only real records if they’re done all in one live take. Slowly, I was like, Well, I don't know if that's true. A lot of the records that I love aren't done that way. I think with this one I was letting go of trying to control everything, and trying to let things happen. Though I'm sure if you talk to some people they'll be like, "She’s a crazy perfectionist." But I'm less of a crazy perfectionist than I was a little while ago. [Pauses] Well, I'm still a crazy perfectionist, but I'll try more things without being like, "No, I can't do that."

2008-08-11 New York, NY | Soundcheck (WNYC)

Interview and live in-studio performance, available to stream from newsounds.org

Folding Chair
Lucky Penny

2008-07-28 Bronx, NY | Words and Music from Studio A (WFUV)

Interview and live in-studio session, available from wfuv.org

Man of a Thousand Faces

Time Is All Around

Summer in the City

2007-10-13 NME

WHEN KATE NASH MET REGINA SPEKTOR

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New York songstress Regina Spektor is Kate Nash's biggest influence. She's always wanted to meet her, so we made it happen. Just call us NME'11 Fix It

---

Normally at 730am on Friday morning in New York, you'd find NME collapsing into bed following the previous night's blow-out at Club NME NYC. Not this Friday. Today, NME has risen bright and early, with a brief to escort Kate Nash to Philadelphia to make her teen dream a reality by plonking her in a room opposite her ivory-tickling idol Regina Spektor with a licence to drink all the tea she can make, shoot all the adoring looks she can muster and say "Oh my God" as many times as she likes (which will, as it turns out, be rather a few times).

In the madness outside the station, Kate's extremely easy to spot; her shining strawberry hair and red dress stand out from the blur of grey office donkeys like a beacon of indie style. On the train, she excitedly plays NME a continuous flow of tracks from the New York songstress back-catalogue, declaring every other one to be her "favourite ever" before a miserable old biddy stalks over and asks us to turn it off with one of the meanest frowns this side of a hungover brontosaurus.

"Regina got me through all the angsty stuff I went through from the ages of 16 to 18," sighs Kate. "Whether it was parents, friends, hating working at Nando's, getting my heart broken for the first time or being really ill, I always felt like I could turn to Regina. I first went to see her when I was 18 and I was so happy afterwards that people were asking me if I was on drugs!"

Such is the extent of glee on Kate's face as we arrive at the hotel where the meeting will take place, it's hard not to wonder the same thing. By now in a blind panic, she turns to a coffee-craving NME and exclaims for the 17,835th time, "Jesus, I'm so nervous!"

"It's OK." we reply. "Regina's really nice, y'know..."

"Yeah, but I'm such a dickhead!"

The very second Regina throws her arms room and they begin to chat in an almost sisterly way. Regina could pass as a distant member of the Nash clan by virtue of the red hair, striking dress and excitable disposition alone. 'Bless' just isn't the word.

REGINA: "Look at how we showed up today! Were wearing similar things and our hair is worn the same. It's not a slick style, it's more playful. I've never felt good taking a piece of clothing when there are 12 other exact copies of that thing hanging there too."

KATE: "Yeah, I hate that as well..."

REGINA: "And if I do I try to alter it somehow. Like these elbow pads - I made them out of socks just this morning. (To NME) You can tell that Kate likes to dress in a way that isn't out of a catalogue."

But, quicker than you can say Topshop, talk turns to music and they continue their hyper-speed bonding over Björk. Kate has a picture of the icelandic oddball during the mid-90s as her laptop wallpaper, while Regina recounts her delight at meeting Ms Guömundsdóttir at Scotland's Connect Festival over the summer. "We were watching LCD Soundsystem by the side of the stage and she said, 'I know this is not hygienic, but...' and then offered to share her wine with me. I was thinking. 'Are you kidding? I want you to spit on me!" Kate constantly carries around a pen and pad, writing down anything she's not familiar with like some kind of gonzo scholar. As Regina talks, she scribbles so furiously it's like she's being taught the meaning of life.

KATE: I've always had this desire to learn and to be clever, but I didn't get into university so I still feel paranoid about not having enough knowledge. I've got a fear of being left behind. so I'll do things like buy £70 worth of CDs of stuff that I don't even know what it is. but I know I should have them."

REGINA: "Well, at least your paranoia is fuelling your education. It's commendable that anyone is trying to educate themselves because, even now, I think a lot of girls are taught even by their parents to not get too many big ideas - to sit quietly and be pretty."

KATE: "Since I've become involved in the music industry I've become like a raving feminist! I'm so aware of virtually everyone within the business being male, and I got really paranoid when I was starting in the business and I didn't have anyone I could turn to."

REGINA: "It was the same for me. I was a real pain in the ass for the people who tried to sign me and I recommend you do that too. Don't just feel pressured or rushed into doing things - it's your right to take your time and find the people who aren't just drunk guys in suits."

KATE: "There was a time that signing a record deal made me want to jump off a cliff. But I realised that you have to be in it to fight it. Plus, the whole reason I wanted to be making music and perform is to reach people, otherwise I'd have just stayed in my bedroom..."

REGINA: "Oh my god! Are you related to me? I've spoken those exact words!"

As Kate will be the first to tell you, it's a minor tragedy that Regina Spektor hasn't achieved a level of stardom that reflects her huge talent. A classically- trained musician and a scholar of the piano, she moved from the old Soviet Union to New York as a child and began to perform around the city's countless bars, cafés and all-purpose shitholes while self-releasing albums at the same time. It was 2003's superb 'Soviet Kitsch' that converted a 16-year-old Kate to Regina's unique charm and she wasn't the only one. The press reaction was orgasmic and she even had the patronage of The Strokes to aid her. "They were the kindest people when I toured with them after 'Room On Fire' came out. The second ever time I opened for them, there were these frat boys in the front row and, because of the way I was sitting. they could see my underwear. I heard them slow- clapping and then they said. 'Good job Norah fucking Jones!' After my set. I ran offstage crying, but the band came up to my dressing room and started to teach me how to deal with hecklers. They said that I should always turn the tables on them, so by the end of the tour I was so tough - I'd go on stage smoking cigarettes and spitting on the floor and saying, 'Fuck you, and you, and your mother! By the time I went home, my mom was like. 'Who are you?'"

For a moment, the scribbling stops as Kate recounts being told to "get your muff out" by a punter at the Camden Barfly a few weeks ago - the same incident that caused the Duke of Wakefield (aka Ryan Jarman) to defend his lady's honour by slinging beer towards the emotional retard in question.

REGINA: "I hope you let him fucking have it."

KATE:"All I said was. 'Oh, boo!" I haven't figured out what to do about that stuff yet."

REGINA: "I would have said. 'Get the fuck out. Go upstairs, get a drink on me - tell them Regina's gonna stop by and pay for it - but just get the fuck out. I've worked on this my whole life and that's all you can say?' I would have let him have it."

It's a true Luke Skywalker/Obi-Wan Kenobi moment. She may not have written it down but you can tell by the look in Kate's eyes that a mental note has been made, and she's already planning future retaliations.

After our snapper engages the pair for a brief photoshoot, they exchange emails and promise to send each other countless links, books and songs, while NME even suggests that they collaborate ("Yeah, we could use, like, 30 pianos!" laughs Regina). But regardless of whether that actually happens, there's no doubt that Kate Nash has exchanged her distant hero-worshipping of old for a new, and very personal mentor.

"That was AMAZING," she squeals on the train back to New York. "Now that I've met her and know she's a real person. I think I can look up to her even more, but she still has the child in her too. I had a cab driver telling me the other day how I should always keep the child in me as I grow up and I can see what he means now. She's exactly like you think she would be from her songs - sweet, charming and so clever."

NME thinks those are exactly the three attributes that make Kate Nash what she is too... no wonder they got on so well.

---

We've got exclusive one-off Polaroids signed by both girls. For a chance to win, go to NME.COM/ WIN and answer this: Where was Regina Spektor born? A) Moscow B) Brighton C)Brooklyn First correct entry selected at midnight on Monday, Oct 15 wins. T & Cs apply. See NME.COM for details.

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See your Fannish Inquisition questions put to Kate in an exclusive interview on NME.COM/VIDEO "YEAH, VERY FUNNY. NOW UNGLUE THESE TEACUPS BEFORE WE HAVE TO WRITE A SONG ABOUT IT..."

2007-02-09 BBC Radio 6 Music Hub

Interview and live in-studio session 

MP3

Fidelity
Field Below

2007-02-04 New York, NY | Mixed Bag Radio (WFUV)

Interview and live in-studio performance with host Pete Fornatale

MP3

Fidelity
On the Radio
Après Moi
Music Box
Field Below

2006-08-24 BBC Radio 2 - The Janice Long Show

Interview and live in-studio session at the end of Regina's summer 2006 European tour

MP3

Fidelity

Apres Moi

On the Radio

2006-07-23 Oxfordshire | BBC 6 Music

Interview and live in-studio session ahead of Regina's performance at the Truck Festival

Interview | That Time

2006-06 RAG Magazine

regina spektor

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Story: Monica Cady

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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

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Begin to Hope hits stores June 13.

2006-01-26 BBC Radio 4 - Woman's Hour

Interview and live in-studio session ahead of Regina's show at the Manchester Academy 3; previously available to stream from BBC Radio 4 

Real Audio (segment begins at 18:39)

Love Affair

2006-01-05 The Guardian

LINK

[...]

The singer-songwriter arrives with a large cat on her head. "It's fucking cold in your country," she says - then grins, yawns and knocks back a slug of Echinacea.

[...]

We are two players meeting in the middle, one who finds the prospect of classical precision daunting, another who is wary of improvising. The tune we play, Consequence of Sound, has a split-personality, musically and lyrically. [...] One minute Spektor is gabbling, the next she is banging out a mini-opera. It's like being in an orchestra one minute, a playground the next. "I like it!" she says. "I don't ever really get to redo anything like this."

Who would be her perfect jam? "It's a good question. I wanna take it home and think about it." She's a fan of Tom Waits, how about him? "He does seem like the perfect person. The interesting thing about him is that he is an actor. One of my great Russian hero composer-songwriters is Vladimir Vysotsky - he was a great actor, too. In their music the different characters come through. It comes with that long-standing tradition of bards - you know, like Homer? He was a musician. The Odyssey was an improvisation.

"But even in improvisation you train. Like boxing or something. You go through hours and hours of rigorous, mindless repetition, so that in the moment you can forget it all and your body just knows how to react." She goes into a dream again: "You know, float like a butterfly, sting like a bee."

Does she feel stronger on stage, being her characters? "Of course! On stage, you're smarter than you are, you're faster than you are. It's what all that training is for. It's your job to be a historian of everything that goes on around you. You try to take in as much as you can - it's a very emotional job because you have to keep yourself very open. Then when it fills up to a certain line in your body, it starts spilling over - the output of all that stuff that is processed ..."

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Mary Ann Meets the Grave Diggers and Other Short Stories is out on January 16 on Transgressive. Regina Spektor plays the Glee Club, Birmingham, on January 25, then tours

2005-12 Transgressive Records Podcast

Brief interview with Transgressive Records founders Toby L and Tim Dellow (episode dated 2006-02-07), touching on the making of Begin to Hope and clearing the rights for "Daniel Cowman"

MP3

2005-12 BBC Radio 2 - The Janice Long Show

Interview and live in-studio session ahead of the release of Mary Ann meets the Gravediggers and other short stories by regina spektor

MP3

Prisoners
Fidelity

2005-09-13 New York, NY | Soundcheck (WNYC)

Interview and live in-studio performance, available to stream from newsounds.org

Chelsea Hotel No. 2
Après Moi

2005-07-20 New York, NY | Housing Works Bookstore Cafe

Interview and live performance taped for "Liberal Arts" on Air America Radio (aired August 13 2005)

MP3
Poor Little Rich Boy
Summer in the City
The Flowers