page 1
page 2
page 3
page 4
page 5
page 6
page 7
page 8
page 9
page 10
page 11
page 12
page 13
page 14
page 15
page 16
page 17
page 18
page 19
page 20
page 21
page 22
page 23
page 24
page 25
page 26
page 27
page 28
page 29
page 30
page 31
page 32
page 33
page 34
page 35
page 36
page 37
page 38
page 39
page 40
page 41
page 42
page 43
page 44
page 45
page 46
page 47
page 48
page 49
page 50
page 51
page 52
page 53
page 54
page 55
page 56
page 57
page 58
page 59
page 60
page 61
page 62
page 63
page 64
page 65
page 66
page 67
page 68
page 69
page 70
page 71
page 72
page 73
page 74
page 75
page 76
page 77
page 78
page 79
page 80
page 81
page 82
page 83
page 84
page 85
page 86
page 87
page 88
page 89
page 90
page 91
page 92
page 93
page 94
page 95
page 96
page 97
page 98
page 99
page 100
page 101
page 102
page 103
page 104
page 105
page 106
page 107
page 108
page 109
page 110
page 111
page 112
page 113
page 114
page 115
page 116
page 117
page 118

False ME215 played it live a lot, and it kind of just became what you hear on the album now and its one of my favorite songs to play live.” Fellow Canadian, Gonzales, collaborates with Feist on The Reminder. She refers to the pianist on all her records as a “ member of the band who never plays with us. We have a metaliphone, that’s sort of a baby vibraphone. We even took some golden stencil letters and called the metaliphone Gonzo, because in a way it represents all the stuff that Gonzo has brought to the records.” 1234, the song that propelled Feist to this new realm of stardom, was originally called Sally’s Song. Arts & Crafts labelmate Sally Seltmann ( known musically as New Buffalo) found she had created a song that was better suited to Feist rather than herself and so she passed the foundation of it along. In Feist’s hands 1234 was slowly molded into a modern day sing along. The Reminder is a moving, honest, collaborative collection. The artist, in a simple, vulnerable manner, is most breathtaking. Her hypnotizing stage show continues to evolve, experimentally, in areas that very few artists will ever have the courage to venture. Prior to the album’s launch, Feist chose to intimately debut The Reminder live before a few select friends in a tiny church located in downtown Toronto. After the performance most of the attendees left the room understanding that they had just experienced something truly special. process. At times, the songs were done straight off the floor so that everyone in the studio could feel them working as a whole, contrary to the current “ pieced- together” recording style commonly used in the studio today. So Sorry, the album’s lead song, was the core of which The Reminder grew around. For this Feist originally tried to capture what she thought would be a quiet French countryside but, ultimately it turned out to not be so quiet. “ It was insane to think that the traffic was so loud in that area”, noted Feist, “ Every time we would get halfway through a take a plane would go over. We ended up recording the song in a tiny park in downtown Toronto and there were no traffic sounds at all. It was just birds and air and summertime sounds and no cars. It’s very ironic that a Canadian city can sound more countryside than the countryside in France.” One of the only songs on the album that had a full demo recorded prior to her heading into the studio was I Feel It All. While visiting family in British Columbia, Feist managed to step away from the gathering and spend the night by herself in a guest house. It was there that she was able to write the song in just under an hour by using the Garage Band program on her laptop. According to Feist it’s a lot easier to write when you don’t go in with the intent to do so “… if I was to try to write a song… it was not going to happen, but when I keep myself liquid that’s when the melody will arrive.” The first single, My Moon My Man was essentially written while wandering backstage in an old performance theatre. The Water and Intuition, which are two of the oldest songs on the record, came from raw demos that pre- date Feist’s breathrough, 2004 release, Let it Die. Friends Chris Murphy and Andrew Scott of the band Sloan contributed guitar, bass, and drums to those songs. “ Chris has all the chops and he’s still like a 15 year kid that wants to show all the ways he can do the tom rolls. He’s one of my favorite drummers just because he’s got that awesome naivety to him.” notes Feist. Then with a smile “ I’ve tried to lure him ( to the band) but you know he’s got this other thing ( Sloan) going on”. “ The first version is from the double folk anthology,” muses Feist when discussing another track on The Reminder: Sealion, “ while the other version is from Nina Simone which is a more modern 70’ s style that has so much energy to it. We

False ME216 TODAY AND TOMORROW T3TALENTSbrought to you by Jason Nevins