Leslie Feist
Canadian singer-songwriter who performs as a solo artist under the name Feist and as a member of Broken Social Scene.
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I know more than I knew before
I didn't rest I didn't stop
Did we fight or did we talk.
Helping the kids out of their coats
But wait the babies haven't been born
I'm unpacking the bags and setting up
And planting lilacs and buttercups
But in the meantime I've got it hard
Second floor living without a yard.
The tragedy starts from the very first spark
Losing your mind for the sake of your heart
The saddest part of a broken heart
Isn't the ending so much as the start.
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.
I got a man to stick it out
And make a home from a rented house
And we'll collect the moments one by one
I guess that's how the future's done.
It may be years until the day
My dreams will match up with my pay.
No one likes to take a test
Sometimes you know more is less.
Apple has really done its job. I thought it was a cute but harmless song (I first heard the song when she performed it on Letterman this past summer, and thought the chorus part was fun. That was about it). But now? I'm at the point where I'm thinking, "the next time I'm on iTunes I should download that song." And there's a reason for that. If I don't hear the entire song, the thirty-second snippet Apple gave us in the ad will rattle around in my cranium for months. So it's either download the song or go out and yell at the college kid who's going to serve me my latte tomorrow morning. You can see that I have no choice.
Feist's third album of new material, "The Reminder" is ... the album that should transform her from the darling of the indie-rock circuit to a full-fledged star, and do it without compromises. "The Reminder" is a modestly scaled but quietly profound pop gem: sometimes intimate, sometimes exuberant, filled with love songs and hints of mystery. ... In her new love songs Feist apologizes, confesses to longing, hints at betrayals and misunderstandings and wonders what might have been. Her voice is self-possessed yet unguarded, and it hovers in arrangements that are often modest — just a handful of musicians playing together in a room — but can also proffer gleaming instrumental hooks and nonsense syllables that invite singalongs. The songs find equipoise within heartache.
Oh, oh, oh
You're changing your heart
Oh, oh, oh
You know who you are.
Ooh, I'll be the one who'll break my heart
I'll be the one to hold the gun.
She really poured it on. She always pours it on. That's Feist.
I'm a stem now
Pushing the drought aside
Opening up
Fanning my yellow eye
On the ferry
That's making the waves wave
Illumination
This is how my heart behaves.
One, two, three, four, five, six, nine, and ten
Money can't buy you back the love that you had then.
Feist comes from an indie-rock world, where it's sacrilege to admit any kind of ambition. But I had 100 percent in my mind the idea that we should have as much material as possible that could be played on the radio or resonate with a huge bunch of people. We already have the built-in reflex not to get behind anything that's going to be hollow. And when you have an artist with this kind of credibility, the idea is to communicate to as many people as possible without doing something ridiculous.
By nature of me being the one singing it and writing it there is always an innate bit of autobiography there ... but I think I learned years ago that you don't get songs that have that long stride and that pivot-hinge ability if it's too much diary entry.
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