Maybe it's just the preponderance of piano in her music, but
Regina Spektor
sounds more like a
traditional singer/songwriter
(in the best sense of that phrase) than her
anti-folk
contemporaries. On
Soviet Kitsch
, her third album -- and major-label debut -- her sound is more refined than ever before, but there are still plenty of rough edges and unexpected twists and turns. The
Fiona Apple
and
Cat Power
comparisons that have been leveled at
Spektor
since her first album
11:11
are still valid, particularly on songs like
"Carbon Monoxide"
"Somedays,"
but
is more theatrical and playful than either of those artists. Quirky character sketches such as
"Ghost of Corporate Future"
"Ode to Divorce,"
and flights of fancy like the charming
"Us"
are quintessentially
; though her songs may not be diary entries set to music, she imbues them with lots of personality and intimate details. Nowhere is this more apparent than on
"Chemo Limo,"
a strangely uplifting song about a woman living with (not dying from) cancer that ends up being one of
's standout moments.
"Flowers,"
which begins with a section inspired by her
classical
training and then moves to a part based on her Russian Jewish heritage, also shows how easily
can incorporate different sounds and ideas into her own music. She does a 180 on the raw
"Sailor Song,"
on which she gleefully yells, "Marianne's a bitch," and on the punky, off-the-cuff
"Your Honor,"
which also features the London
rock
group
Kill Kenada
. A few of
's songs, like
"Poor Little Rich Boy,"
concentrate on the childlike, mischievous side of
's sound that puts her in the love-it-or-hate-it category for some listeners. Still,
is an engaging performer throughout the album, and despite her arty quirks, she's never pretentious. She originally self-released
nearly two years before
Sire
released it, so it'll be interesting to hear what she does next. ~ Heather Phares