Music’s darling
Russo-American troubadour, Regina Spektor, saw the release
of her sixth studio album earlier this week with What We
Saw From The Cheap Seats. Spektor’s style is impossible
not to recognize. It’s been nearly three years since her
last record, but it’s clear we’ve still got the same spunky
songstress in our hands. Few do what Spektor does as well as
she does simply because you know it’s her genuine self in
the music - an innate quirk, a natural brood that’s powdered
by an inherent powdering of sugary twee. Working with a
broad set of styles, she’s every bit as contrasting as the
ebony and ivory keys that lay before her.
Between her dark, brooding recesses and infallibly twee
tendencies, she’s a woman of contrasts, and it’s undoubtedly
rooted in the fact that her songwriting style simply doesn’t
know the word "risk." Spektor does a brand of pop that can
run from the simplest, piano-laden melodies to punchy,
aggressive pieces that are bold and invasive. What We Saw
From The Cheap Seats continues to showcase the varied
styles of Spektor, and it’s an album that layers upon itself
and its intricacies to form an interesting, cohesive album.
:Regina
Spektor - All The Rowboats:
:Regina
Spektor - Small Town Moon:
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