“At that time of [writing] '11:11,' I was really living in a bubble,” respektor tells CaitlinWolper.
It was 2001 in the Bronx, and Regina Spektor was surrounded by boxes. She had just ordered 1,000 CDs of her debut record,, and consequently filled her parents’ apartment with copies. But what was at first exciting had become a catch-22: she needed to sell CDs , but she felt the album no longer represented her music.as a student in SUNY Purchase College’s studio composition program, some of its earliest songs were written when she was just 16.
Her first real show was actually in Switzerland. A couple who’d attended an open mic in New York took a copy ofhome and showed it to their friend; that friend later reached out and asked for Spektor’s fee. Returning to New York — where things tended to be a little less friendly — Spektor had more faith in her career. She was writing songs at a furious pace, and rapidly puttingin the rearview, but the single copy she’d shoved in her bag had helped her book that first gig.
He adds that “it was not just the song, which is brilliant. It was the whole thing. It was the voice, and the fact that she was playing piano so beautifully. And she obviously had some kind of classical chops … it was rare to see someone who could write a song that great, play piano perfectly, and sing like that.”“She was just working so hard, writing, writing, writing, writing. And also it was amazing because you just get one fantastic song after the next,” he laughs.
Castellano says her eye for authenticity gave songs “that experience of hearing what it would be like to sit with her — basically the experience that I had the first time I heard her, where she sits down and she's at the piano and she's telling you a story. And she's connecting with you.” Joe Mendelson had one foot out the door. A minority owner of The Living Room, a music venue on the Lower East Side, he usually didn’t check out the early shows — they were for newbies, the acts that didn’t draw a crowd.
“She was drawing on classical music, she was drawing on jazz music, she was trying on experimental music. She was doing things that literally just nobody was doing. She played entire songs with her left hand only, which comes from an old classical tradition,” Mendelson says. “She was singing in multiple languages: singing in Russian, singing in French, singing in English, making up sounds with her voice, banging on a chair with a drumstick while playing the piano with her other hand.
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