Music and Art Can Be Such a Clarifying Force

Twenty years ago, Regina Spektor was yet another aspiring musician in New York, lugging around a backpack full of self-produced CDs, and playing at little clubs in the East Village—anywhere that had a piano. But anonymity in Spektor’s case didn’t last long.  She toured with the Strokes in 2003, and once she had a record deal, her ambitions grew outside indie music.  She moved into a pop vein, writing anthems about love and heartbreak, loneliness and death, belief and doubt.  Her 2006 album “Begin to Hope” went gold.  

“Home, Before and After,” being released this month, is Spektor’s first new album in six years.  She sat down at a grand piano with Amanda Petrusich, who covers music for The New Yorker, playing songs from the record and talking about the role of imagination and playfulness in her songwriting and her vocals.  “I think that life pushes you—especially as an adult, and especially when you’re responsible for other little humans—to be present in this logistic[al] sort of way,” she says. “I try as much as possible to integrate fun, because I love fun. And I love beauty. And I love magic. … I will not have anybody take that away.”

Spektor performed “Loveology,” “Becoming All Alone,” and the older “Aprѐs Moi,” accompanying herself on piano.  The podcast episode for this segment features a bonus track, “Spacetime Fairytale.”