Regina Spektor
Born: 1980
Location: Moscow, Russia
Genre: Singer-Songwriter, Chamber Pop, Anti-Folk, Indie Pop
Years Active: 2001 -
Real Name: Regina Spektor
Meaning of the Name:
Way of Working: Works with producers
Essential Releases
Soviet Kitsch (2004)
Major label debut. Orchestral piano work with elements of rock.
Begin to Hope (2006)
Charming songs. More intimate. Humorous.
Remember Us
to Life (2016)
Rich string arrangements. Theatrical.
Regina Spektor is a one-of-a-kind artist who, as a result of her emigration from the Soviet Union to the United States, combined the ornate instrumentation of Russian classical with the attitude and style of contemporary folk rock. She had to leave behind her beloved piano when fleeing the collapsing communist powerhouse in 1989, but waiting for her in New York was the fiercely independent music of female singer-songwriters, such as Joni Mitchell and Ani di Franco, who influenced her greatly.
From them she learned that women could create multi-faceted works of emotional weight and lyrical depth. 'Samson', by Spektor, with its sentimental tale of lost love, is a romantic ballad delivered with the emotional intensity of Mitchell's work on Blue (1971), a quintessential breakup album. While the fearless, irreverent music of feminist Ani di Franco, who performed with a shaven head, is clearly felt on Spektor's boundary-pushing 'anti-folk' efforts and tracks like 'Summer in the City':
"the castrated ones, stand in the corner smoking. They want to feel the bulges in their pants start to rise. At the sight of a beautiful woman they feel nothing but anger. Her skin makes them sick in the night."
Such cutting lyrics capture the caustic tone of Spektor's unconventional songwriting. Her high-pitched vocal inflection on the phrase 'sick in the night' gives the darkly comedic scene a dismissive edge, conflicting with the supportive, empathetic manner expected of women. Ani di Franco would be proud, the 'castrated' males metaphorically stripped of their power.The song also illustrates the ability of 'anti-folk' to shatter the self-importance of traditional folk/singer-songwriter with the juxtaposition of the humorous and the serious. For example, lyrics expressing the jocular surprise of seeing 'cleavage, cleavage, cleavage' sit alongside the more confessional: "I've been hallucinating you, babe, at the backs of other women."
In combination with these narrative techniques and deep sentimentality, found in songs such as 'Obsolete', is a disarming charm that frequently sees Spektor forget her words during live performances, only to laugh it off and start again. Many musicians surely dread such a moment, but in Spektor's case, and in the spirit of anti-folk, the audience chuckles along with her — it's not that serious.
Spektor often writes with an exaggerated theatricality, influenced by her time in Moscow listening to the work of Russian bards. Songs such as 'The Grand Hotel', and 'The Trapper and the Furrier' echo this great tradition by telling tales of fictional characters, often in bygone eras, as a way of discussing the present through allegory and satire.
For example, 'The Trapper and the Furrier' equates historical figures of the same name with the modern roles of owner and manager, as well as lawyer and pharmacist, stating that each pair is walking through paradise when they really benefit from the suffering of others. In a critique of present day capitalism, exploitation, and profit from pain, Spektor says of the lawyer and the pharmacist:
"They smiled at the judge, disposition so sunny 'cause they didn't have the cure but sure needed the money."
In summary, Spektor is a notable artist because she combined the classic Russian school of piano with the boisterous, DIY ethic of rock and anti-folk to create something new. Her idiosyncratic style sees her play the piano as a percussive instrument, banging out loud, staccato notes to form a sense of rhythm and easing off when it's time for tender moments. With her sophisticated songwriting she carries the torch of intrepid female singer-songwriters into the future.Skills
*This is a work in progress. Values are subjective.Emotional Impact
90
Mental Impact
65
Originality
85
Artistry
65
Authenticity
45
Live
80
Production
75
Musicianship
85
Singing
85
Songwriting
90
Danceability
40
Fun
70
Consistency
85
Range
80
Cool
40
Charisma
70
Commercial & Critical Success
Awards >>>
- Grammy Nominee x1
- Shortlist Music Prize Nominee 2006
Certifications >>>
- Begin to Hope - Platinum in the USA; Gold in the UK & Australia
- Far - Gold in the USA & Australia; Silver in the UK
Charts >>>
- Far - Number 3 in the USA
- What We Saw from the Cheap Seats - Number 3 in the USA
Critics >>>
- NME - Soviet Kitsch: Best Albums of the Decade (2009): 84th
