Meagan Maxwell
Staff Writer
Acoustic alternative artist, Regina Spektor first captured audience’s interest with her music video “Us” from her third album “Soviet Kitsch” released in 2004. The video featured Spektor in a collapsible setting with doll-like gestures while singing, “They’ll name a city after us and later say it’s all our fault. Then they’ll give us a talking to.”
Her timid face blended with a varying voice of innocence demanded attention not only from the music industry but also casual listeners. The New York singer and pianist’s ability to create a soft folk feel with strong, even sometimes harsh lyrics is what keeps people coming back for more and she delivers fulfilling tunes again in her new album, “Begin to Hope.”
Her melodious piano successfully brought about pleasure in the new album, which was released in July. Beginning with the upbeat first song “Fidelity,” Spektor’s hope is audibly visible. “Fidelity” is a mix of harmonies featuring an assortment of instruments with an orchestra sound and Spektor’s heart grasping lyrics. She speaks of never fully loving with “always one foot on the ground,” and it is as if she wants to dive into love. Her friends then assure her in the song that it will only get better. The song is relatable and satisfying, making it easy to listen to on repeat, and once again Spektor was successful in creating an engaging video. “Fidelity’s” video pictorially shows the empty black-and-white situation before love and then explodes with color when the songstress fully accepts love. The video entertainingly gives a deeper insight into the music with a style of production that you would not find in a music video on MTV.
She takes twists and turns of emotions and situations throughout the rest of the album. From “Fidelity” the album then leads to the song “Better,” which asks, “If I kiss you where its sore will you feel better?” Spektor’s words are surprisingly warmer and more considerate than expected due to the somewhat racy cover art and songs in “Soviet Kitsch,” but her lyrics still seem to be a driving force, which in this album leads to a feeling of hope.
Compared to her last CD, the tunes have a more up-tempo air that drives deep into the senses and experiences of the listener. The same little quirks in her voice and her fondness for imitating the sounds of other instruments exposes the same Spektor as revealed in her previous records. Unlike other love songs, when listening to her lyrics one can hear the sincerity and passion in which Spektor mulls over the subject of love.
The album’s quality creation, deep lyrics and convicting melodies make it a compelling and enjoyable musical experience. It seems Spektor used “Begin to Hope” as an opportunity to capture the light of life in her own creative way, producing a CD that has easy listening written all over it. And while Spektor’s quirks may get old to some and be irksome, her little onomatopoeias are a unique attribute that begs further study.
09-14-2006
