BY MIKEY MIGO
What I know about Regina Spektor couldn't fill a thimble. I do know that on most of the websites I go to for music news and in the magazines I read that she's always spoken of and held in high regards. I'm sure I've heard a single or two of hers as she's been on some of the late night talk shows I've seen. I just couldn't tell you anything about these songs or even really the style for the matter. I think and assume its "indie" stuff, but you know what they say about assuming. Spektor has five studio albums and a hand full of EPs and random singles. As per my own set "First Impression" regulations and time restraints, I'm only going to listen to the five studio albums. I really don't know what I'm getting in to for the next few hours. I'm crossing my fingers that it'll be something good as over four hours of listening can and could be kind of torturous. I'm cautiously optimistic as I put on my headphones for this first impression experience...
Album: 11:11
Year: 2001
Duration: 46:21
The first song of the first album and the first Spektor song I am knowingly listening to, "Love Affair" kicks off with some catchy piano. Her voice kicks in and I'm instantly taken back. Lady's got a voice on her. I really hope this is a sign of what my ears will be treated to for the next few hours. "Rejazz" starts off with a vocal piece that's well written and well emoted. A groove bass line kicks in as Spektor pours her heart out telling us that ‘People's children die and even they don't cry forever'. "Back of a Truck" brings back the piano and is beautifully chaotic. I find myself lost in the sound and can't keep up with the content. "Buildings" is pretty much amazing as it is catchy. "Mary Ann", accompanied with the standing bass, tells about how a man loves "Mary Ann" for her random attributes and how she slowly starts to go crazy. At least that's how I took it. I've never heard the word "meatloaf" sung so seductively. I'm not even a fan of the dish. I think "Flyin" is a rap, but I'm not sure. It's got a good beat and she delivers a fast pace rhyme that gets your head nodding a long. "Wasteside" is as soulful as a song can be. I don't know how else to describe it. "Pavlov's Daughter" starts off with some odd percussion that sounds distant as Regina scats. It then it goes into a full flown rap song. I won't lie, it does remind me of "Flight of the Conchords" but it's not AS silly. Piano eventually kicks in and goes deep into a darker and more methodical drone of soul. This far in and I'm still taken back so much that I did not realize this song is almost 8 minutes long. The ending is incredible. "2.99¢ Blues" jumps into a catchy piano melody as Regina owns the ears of the listener. The opening piano of "Braille" is soothing and the vocals following accompanied it perfectly. The lyrics paint a pretty vivid picture here. The title of "I Want To Sing" is a bit perfect as there is no music at all. It's just Spektor belting out. We end with "Sunshine". It's a snazzy, jazzy, and poignant song. A solid finish. I appreciate the simplicity of the music. It's not overly produced, but her voice and delivery bring something really special to the table. It's really hard to believe this is a first album. It's just so well thought out and well done that you'd think you were listening to an artist who is at their peak. I hope that's not the case here and I seriously doubt it will be.
Album: Songs
Year: 2002
Duration: 49:26
"Samson" kicks off this second album with a passionate piano track. It's a more down tempo track compared to the last album, but just as enthralling. "Oedipus" opens with Regina kind of scatting and then goes into a pretty decent track. The change ups are very interesting. At first, I was kind of disappointed with "Prisoners", but it grew on me and the vocal delivery towards the end is the good kind of insane. "Reading Time With Pickle" is a weird song, but I can't help but enjoy it. The piano really stands out in it. We get some more hip-hop-ish delivery in the vocals of "Consequences of Sounds". This is a solid track. The musical accompaniment is simplistic and just gives a bounce that's hard to describe. "Daniel Cowman" opens with some powerful piano notes and builds into chaotic story of the title character. The words and narrative are vividly described and holds nothing back as Spektor's vast range is on display. "Bon Idee" is a beautifully constructed track as the piano work is remarkable. Of course her vocals are good, but the music here is what stands out to me. We hear Regina tell us "Aching Pupate" over and over again in the song "Aching to Pupate" (go figure). She then goes into what feels like a poetic freestyle. The down tempo jazz of "Lounge" is one of my favorite tracks on this album. It feels like you're being put to sleep by an angel as Regina's beautiful voice soothes. She does a weird impersonation of a car, but it's not without its charm. "Lacrimosa" has a very addictive piano accompaniment. It goes back and forth from being dark and brisk, but always remains to have a subtle haunting feel. We learn that no matter how many bones we bury, they will never grow. That's an outlook I've never thought about, which makes this a song I appreciate the hell out of. "Lulliby" starts off with a spectacular piano that sets a great tone for the vocals that follow. It's an odd track comparing toe nails and leaves changing colors. Sounds odd, but she makes it work. We finish off the album with "Ne Me Quitte Pas". It's a pretty cheerful and upbeat track. It's not a bad finish to the album, but just didn't have to "oomph" that one would of hoped for. This album had a few tracks that stood out to me, but not as remarkable as the first album. This seems a little mellower and more polished than the first album. I prefer 11:11, but this isn't a necessarily a step back or anything. It's not as raw or gritty, but just as expansive and emotive.
Album: Soviet Kitsch
Year: 2004
Duration: 39:00
A trance inducing piano melody kicks off "Ode to Divorce", the first track of the third album. The music builds but Spektors voice hangs tightly with the same intensity. I find myself laughing as we hear this voice ask us "Won't you help a brother out?" It's a beautiful piece, but I still find myself laughing with it. Solid open. "Poor Little Rich Boy" is kind of upbeat and bouncy. It's not a bad song at all, but the background drumming is distracting. It's annoying "kid tapping on the table" sounding. The first single, "Carbon Monoxide" is back on track for me. It's a bit down tempo and not as explosive as older songs that should have been singles, but it displays her talents in a positive light. The piano intro of "The Flowers" is outstanding. Spektor's vocals are great here, but lose the impact due to the dominating music accompanying it. I know I've heard "Us" before as it's been used in many outlets. It's a solid track and the violins complement her voice and style very nicely. "Sailor Song" is a fun track and feels close to the first two albums in the delicate abruptness style. "Whisper" is an intro track for the next song where her and her brother talk. "Your Honor" is like a chaotic surf punk song. It's nothing like anything else on any of the albums. It's not bad at all, but took me back. I dig the chances being taken here. "The Ghosts of Corporate Future" brings us back down with a beautiful piano track. The lyrics are among her worst. It's not much different than the other stuff, but lacks the charm and comes off childish. The 6:04 "Chemo Limo" is a great track and has some interesting change ups in style and tone. I think it's safe to say it's my favorite track on this album. "Somedays" is a good closer. It's down tempo and has some of the passion from the first two albums. It's one of the very few points in this album that matched her emotiveness of them. In the first two albums the metaphors and irony was fresh. Sadly, on this one it seems a bit more forced and more spoon fed. Even sadder is that if this was first impression I'd not nearly be excited for the work. It's not horrible, but seems to have a lot more quiry/eccentric pretense. The music seems to be more prominent here and at times it feels like Spektor's voice is at battle with it. It's an interesting dynamic if it was planned. As good as the music is; it took me out of the album at times. I'd be lieing if didn't say this was a step back and kind of a disappointment compared to the first two.
Album: Begin to Hope
Year: 2006
Duration: 47:15
What the hell? The opening of "Fidelity" almost sounds like a Dr. Dre track. I have heard this song and never knew who it was. This is NOT the same Spektor from the first two and even third album. This is a good song all, but it's a good POP song. It's ball-less pop fluff and the moody music does nothing for it. The only real display of her vocal style comes in a very contained chorus. If this is what the rest of the album is like then I'm sad to see a trend forming. The opening of "Better" isn't much better, but a little more enjoyable. It's a catchy song that sounds stolen from the early 90's. "Samson" is next. Not the "Samson" from the second album, but a new watered down version. It's like when Simon and Garfunkel released a "new update" of "Sounds of Silence" on their second album. It's the same song, but seems slightly polished to shine brighter for a more commercial audience. The synth music on "On The Radio" is fun and provides a great atmosphere for a good track. So far, this is first track on the album that's not a disappointment. The piano returns to prominence with the very pleasant "Field Below". The soulful delivery is definitely welcomed back as well. Hopefully, this two song spree of goodness will be the beginning of getting back up the hill of awesomeness. "Hotel Song" is a catchy song. You can't help but nodding your head to the song with the bouncy words "little-bag-a-coc-caine". The opening piano of "Apres Moi" is hauntingly hard hitting and Spektor's droning vocals work well with it. The piano playing reminds me of Amanda Palmer's work. This is not as good, but not bad at all. "20 Years of Snow" opens with what sounds like a score to a NES fantasy game. It builds to a frantic piano loop and eventually a jazz-hop type of beat amongst other little change ups. "That Time" starts off like a full blown rock song as Spektor follows the bounce vocally. It reminds me again of an early 90's pregrunge indie rock song. "Edit" is one of the better tunes on this one. It's got weird programmed music and a break drum, but the delivery and style is just cool. "Lady" provides the heart ripping blues track that's been missing on the last two albums. I can easily say this is my favorite display of her vocal abilities on the album. The final single and track of the album is the beautiful down tempo song "Summer in the City". She doesn't strain her range, but rather just sings it in a conventional way. She's got a great voice so it's a good thing, but I just prefer the more explosive sounds of the first two albums. This may be better than Soviet Kitsch if I don't take into the account the huge singles from it. You can hear some experimentation, but it feels too contained. This album feels like it's been overproduced. If you played it against most other artists, it would be considered "stripped down music". The synth and poppy stuff on this takes away from the initial grit and rawness I was excited about not two hours ago. Not bad, just not as emotive, expansive, or fun as the early stuff. Maybe that'll change with the most recent LP release…
Album: Far
Year: 2009
Duration: 47:39
The bouncy "The Calculation" opens up the fifth studio album of Regina Spektor. It's poppy and lacks substance, but is still better than the singles off the last album. "Eet", the second single, is a down tempo track that's a pleasant listen, but is nothing special. The slow burn of the soft haunting "Blue Lips" is good stuff. The piano leads other sounds and music into one of the more interesting tracks in awhile on the music side of things. The cheerful love song "Folding Chair" is fun and worthy of a head nod. The piano melody reminds me of something else, but I can't put my finger on it. The snazzy and jazzy fun of "Machine" is one of the better tracks. "Laughing With" has lyrics that remind me of a rambley paraphrasing of "I Started a Joke" or "What If God Was One Of Us". Apparently it was the first single off the album, but I don't recall ever hearing it. It's trying to be edgy, but it comes off as an easy listening break up song. "Human of the Year" starts with a good soft piano melody and is joined by a quietly sung song that goes into something a little more, but not much. I'm really bored right now with this. "Two Birds" sounds like a hundred indie rock songs I've never wanted to hear. A song titled "Dance Anthem Of The 80's" better rock. Sadly, it really doesn't. It's bouncy, but doesn't feel complete. It feels like wittily titled filler. The piano introduction of "Genius Next Door" is well done and Spektor's vocals sound good with it. But it's just "good" as in passable. It's nothing I'll remember tomorrow. "Wallet" is another "passable" track. It's not a bad song, but lacks any substance or hook. The opening vocal delivery gets my attention on "One More Time with Feeling". It feels like one of the more inspired songs on the album, making it almost out of place. We finish with "Man of a Thousand Faces". It's an okay song, but doesn't do much for me. The problem is that nothing on this album really stood out to me. I wanted to enjoy it and end on a high note, but even on very loud headphones and my undivided attention it went in one ear and out the other. The majority of the album feels like filler.
The Verdict
Artist: Regina Spektor
Years: 2001-2009+
I'll be the first to admit that I have trouble getting into female vocalists. I'm not a sexist in the least bit, but relating to lyrics and connecting to emotions is just harder. That's not saying I don't appreciate a good singer. I'm a fan of most of Karen O's work, I like some Fiona Apple's old gems, Alanis's Unplugged is great, and Amanda Palmer's work in Dresden Dolls was magnificent for their first album(well, self titled and ‘A is For…'). But I must be honest here, Spektor's vocal talent and emotive styling's are on par with most of my favorites male or female on the early albums. Hell, even in some of her hip-hop rapping delivery on the early albums is better than most full time female rappers. I was ready to proclaim her as my new favorite artist and tell the world about how great she is. Then Soviet Kitsch happened. That album isn't THAT bad, but the 11:11 and Songs were so damn good that it completely overshadowed everything else. I won't say she "sold out" or "went commercial" because you can make that decision up for yourself. To me, it's watered down and poppy. Listen to ANY song post Soviet Kitsch and tell it's as powerful as say "Wasteside". It's not. The vocal inflections and overall unique style of Spektor was choked out and replaced with east listening radio junk. She went from being a female Jack White to a female (or more female) James Blunt so drastically that it hurts. Regina Spektor was the real deal and was something this era could be proud to claim ours for a little while. It feels like she went from being an "artist" to a "musician". Spektor's first two albums are something that should be heard by any music lover. It may not be your cup of tea, but it's something your ears should experience at least once. There are segments of music that are original just to be original. That doesn't automatically deem it acclaim or worth, but here it just works and feels like something special. From there, I can't recommend any of it. If not for the first two albums, this would have been a torturous experience. I'll keep and ear out for her future releases, but I have a feeling the passionate and emotive rawness will never return.
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