Pretty damn crazy, huh? Now that I have thouroughly listened to this album, I can understand why.
Spektor doesn’t just begin this album, she leaps into it full force with the insanely addictive “The Calculation”. Rollicking piano topped off with some of Spektor’s sweeter tones and by far the catchiest chorus makes this my favorite track on the album. I hate that. I hate when my favorite track is the first, because then I feel like I neglect the rest of the album. Well, I’ll try my best…
This album seems to be a mix of new material and old live tracks that she just never compiled, like “Folding Chair” and “Blue Lips”. There is a fine line between cute and cutesy that Spektor toes frequently, and she surely hasn’t lost that on this album. She incorporates all the whimsical story-telling of her prior albums, but far more produced. Apparently, this album’s getting a lot of flack for that. I kinda like it.
Sometimes, especially on Soviet Kitsch, Spektor got even a little weird for me. This album definately has mainstream capabilities, much like 2006’s Begin to Hope. Half the tracks on here are single-worthy, including the first single, “Laughing With”, as well as “Human of the Year” and “Two Birds”.
I think the most amazing difference on this album is that it is FILLED with music. After so many years of Regina + piano + one drumstick, it’s weird to hear a sound so complete. Like, “Machine”, heavy piano with an electronic tilt and Spektor’s ghoulish, snarled vocals.
Something about this album reminds me of Tracy Chapman and I’m really not sure why. Spektor does get a bluesy vibe going on, especially with “One More Time With Feeling” and “Man of A Thousand Faces”.
This is really a well rounded album. There’s a mix of songs that either make you want to dance, or cry. Spektor is balls to the wall on this album. B