Adam Salsman [dot] com

I know it’s hard to believe, but I heart Regina Spektor.

Regina’s last indie release (which was later re-released on her Major Label) is a schizophrenic romp through the musical genius that is Ms. Spektor. It seems to bridge her brave and creative anti-folk beginnings and her pop-rock endeavours of the present and future, as heard on Begin to Hope.

The beautiful Kitsch is heavily piano-driven pop/rock/folk/anti-folk album with a lot of character and spunk, filled with the charm that is Regina Spektor and the staying power of most any Zep album.

Poor Little Rich Boy plays on the starkness of the instruments, with just a quieted piano and two drum sticks banging on a table, exquisite; Us is, perhaps, your top 40 pop track of the album, with an upbeat tune and lyrics; Sailor Song is a favourite simply for the chorus lyrics of “Mary ann’s a bitch,” and either you get the joke, or you don’t; And the album finishes with Somdays, which is beautiful, sad, and yet up-lifting, ending the album on this bittersweet note.

In the end: Many people enjoy this album more than Begin to Hope, and they have every right to. It’s more imaginative and inventive. If you enjoyed Hope, you’ll most likely love Soviet.

On the Web: The Hype Machine helps people help themselves. If you can find the remix of Us on there, it’s worth the download.

Technorati Tagged: Regina Spektor | Anti-Folk | 2001

Sometimes I wonder if I’ve managed to impress upon people how much of an amazing talent Regina Spektor is.

After discovering her latest album, Begin to Hope, I went back to explore her previous works. It turns out that Hope is actually her most pop-ish album.

11:11 takes a much more jazz-like approach, with aspects of poetry, a beatnik sound, and a feeling of improv. One song is heavily reminiscent of Mike Myers’ reading scenes in “How I Married an Axe Murderer.”

The album doesn’t carry the Top40 pop tune(s) that Begin to Hope does, and I think that’s for the best. I think 11:11 may be most indicative of her work and talent, even if it feels a little rough.

Rejazz, with it’s heavy bass, creates an atmosphere of a smokey jazz club in the 40s; Flyin’, a very basic song (just her voice and the sound of someone banging on a single drum), is playful, but sadly short; 2.99c Blues is my favourite track, banged out on a piano with Spektor playing a lot with her vocal range; and I Want to Sing features the only instrument Regina needs: her voice.

In the end: This album is a bit erratic, but beautiful and smokey, with a very high replay value. If you’ve discovered the joys of Regina Spektor, you best not have missed this album.

On the Web: Hit up the Hype Machine, and check out a bootleg of hers from last year, courtesy of my gigasize account.

Technorati Tagged: Regina Spektor | Jazz | 2001