Since 'Let It Die' album, her career has thrived
By Chris Nixon
For the San Diego Union-Tribune
March 24, 2006
In her breezy and humble manner, singer-guitarist Leslie Feist takes a moment from her hectic schedule to gloat a bit about her current surroundings:
“I'm in the countryside outside of Paris, in a beautiful old manor house,” says a bubbly Feist, speaking about the locale for the recording of her next album. “The studio is in the basement, but we decided to set everything up in the old parlor and dining-room area so we can look at each other and (at) the sunshine coming through the stained-glass windows. It's pretty idyllic, and I think it's spoiling me. I'll have to go back to regular life after this.”
Regular life isn't too bad, either, these days for Feist. Riding the coattails of her standout sophomore release, “Let It Die” (following 1999's “Monarch”), the 30-year-old musician is making the journey from well-respected collaborator to revered solo artist.
After gaining indie credibility with varied artists such as Broken Social Scene, Kings of Convenience and former roommate Peaches, Feist's “Let It Die” stands as one of the most endearing pop albums in recent years. The process of recording turned out to be a voyage into the unknown.
“It's funny to talk about the recording process of 'Let It Die,' because I just started making a new one with the same people,” says Feist, who recorded “Let It Die” in 2003, released it overseas in 2004, and saw a U.S. release in 2005. “We're all looking at each other, laughing, because of how different the circumstances are this time. When we made the first one, it was really like jumping blind into a dark lake at night. You don't know if you're going to hit the rocks or if there are some creatures lurking underwater.”
The magic of “Let It Die” sprung from the partnership of Feist and musician Chilly Gonzalez, who toured together throughout its on-again, off-again recording period.
“We were a duo on tour, but it was his music and his songs,” recalls Feist, who took a break from touring with Gonzales to record her breakout album. “I was kind of his Vanna White/singing partner/torch-song singer. I was the straight man to his funny man.”
Feist – along with Gonzalez and producer Renaud Letang – shaped 11 tracks replete with soaring strings, oom-pah-pah horns, oozing jazz guitar and Feist's earnest vocals and clever lyrics. The record earned the singer two Juno Awards (Canada's equivalent of the Grammy Awards): for new artist of the year and alternative album of the year, edging out fellow nominees Arcade Fire and A.C. Newman. The disc also made numerous “Best of 2005” lists in the States.
San Diego native Robbie Lackritz – who has also worked with Rilo Kiley and Ben Lee – engineered tracks and helped Feist on the road as tour manager. Feist credits Lackritz with being “one of those behind-the-scenes guys who know how to play guitar better than I do.”
Despite her reputation as a collaborator, Feist confides that she doesn't really enjoy working with others when writing tunes. “I much prefer to write everything by myself,” says Feist. “It's kind of difficult. It's like getting undressed in a really bright light.”
Though it may not be the French countryside, Feist is now hitting the road in the U.S. accompanied by a small band (baritone guitar, organ/flugelhorn, drums) and with a set list combining songs from “Let It Die” and the upcoming release. Feist – who is also an excellent guitarist – focused on writing songs for the new album that are compatible with the way she tours.
“ 'Let It Die' is more piano-based, organ-based and percussion-based,” says Feist, who will stop at the Belly Up Tavern in Solana Beach Sunday. “Live, the songs are more guitar-based. The record that we're doing right now is really guitar-based. I feel like finally I get to write some parts that I'll be excited to play on tour for this record.”
Chris Nixon is a San Diego DJ and music writer.
