Regina Spektor’s first major label release, Soviet Kitsch, was recorded in a 10 day time period and presents itself as just that, a recording from a label that was looking for the Tori Amos of the 21st century but was unwilling to put much risk or effort into the album. Upon the success of Soviet Kitsch, Sire Records gave Spektor 2 whole months to record and produce Begin to Hope, not to mention the full spectrum of backing instruments. Those extra 50 days of recording produced a much cleaner and well thought out album while still being able to keep her edginess. All this amounted to Begin to Hope being Spektor’s crossover release. Unfortunately what comes with a break through album is the anticipation of the follow up as well as some wishing for utter collapse into the caverns of the sophomore slump where few are ever seen from again.
Despite the anticipation of this release from indie blogs the world over and a favorable review from Rolling Stone, the vacuum of silence from the mainstream media around this album has been deafening. Perhaps showing the lack of faith from the record label which sent in Mike Elizondo, David Kahne, Jeff Lynne and Garret Lee to produce it. That’s way too many chiefs and not enough indians. Unfortunately I’m not sure which producer worked on which tracks but there is definitely sound fluctuation through out the album with some distinguishable over production as well.
Each track on the album stays true to the personality that we have come to know over the past 8 years. Song topics range from the serious praise chorus to Karl Projektorinski as being the surprised “Human of The Year” but also stray to the questionable, improvisational sounding song “Wallet”. While the playfulness of Spektor was enjoyable at times during the last two albums, the lyrical and musical maturity that she has gained with Begin to Hope and now Far make the more playful and ridiculous tracks (such as “Wallet”, “Dance Anthem of the 80′s” or barking like a seal in “Folding Chair”) that much more of a nuisance and a distraction. While these tracks may be a crowd pleaser at shows, over the speakers they take away from and ruin the flow of the beautiful ballads that she has learned to write.
Regina Spektor has made and is still making her mark on piano driven indie-pop. My only hope is that with each subsequent release her style will continue to lean towards her more serious side. After all, no one really wants to see a 40 something redhead plinking the ivories, singing about computers made of macaroni and Blockbuster rental cards.
au contraire, i would love to see a 40 something redhead singing about block buster rental cars, because that is what makes Regina who she is and it is what her fans love about her. she writes amazing music and her funky random songs have just as much meaning as her “serious songs” do. she is the only artist i know that can write a song about an ordinary thing like finding someone’s wallet and turn it into a beautiful song. not mant artists are as talented these days, in my opinion.
Where my problem comes in is that the “funky random songs” are sub par and far beneath what she is capable of. The lyrics are contrived and flow about as well as I do on a dance floor (that is to say not at all). Nothing in a song should distract a person singularly to a certain aspect, but that is exactly what these songs do. I find myself getting so wrapped up in the lyrics that she is unsuccessfully forcing into the song that I lose all track as to the fact that I am listening to a song. Don’t get me wrong, when Spektor is on fire, she is on fire but when she’s not, it is glaringly obvious.
The problem with your analysis is that you’re looking at a few aspects of each song, most certainly the ones you care most about and (it’s very clear) can identify easiest. The song about the macaroni computer is not really about a macaroni computer, and the wallet song is not only about a wallet. There’s more to the lyrics than you’re giving Spektor credit for, and there’s certainly more to the melodies, harmonies, and song structures than you can hear.
Also, I think it’s a fatal flaw of a lot of modern musicians that they take themselves too seriously. If you’re afraid of looking ridiculous, you’re afraid to try new things that could be great. Spektor may not always create absolute winners, but her strangeness and sense of humor are sometimes easier to relate to than someone who can’t take a joke. After all, jokes are just as much a part of real life as “serious ballads.”