Regina Spektor – Songs

Vegina (Hee!) Spektor  is back with a new album, and now she’s fired her electric drummer, who apparently went and committed suicide like in that incredibly terrifying new GM commercial I now see when I watch Fox News, which is every day. Have you saw it? It features robot workers building cars, then one drops a part, and in the next scene it’s jumping off a bridge. Haha! Ha ha? So the implication is that workers are going to be replaced by robots? Or are effectively robots? Or that they kill themselves when they get fired? Which is funny because some do? What?

Anyway, ReSpekt, to quote her website, is back with a new album, and it features only Regina’s likable voice and somewhat less inspiring (but still inspiring) piani playing. The variety is gone, but she’s focusing on what she’s better at now, and that’s overall a positive thing. Hey, vegan worchestershire sauce is terrible by itself, but good in recipes. The first paragraph above was written back in ought seven, and this paragraph used to be pining for Regina, now redacted, and a story about how I once kissed a man in drag, which is a true story from my days of drugs and grief.

Here are my song notes:

Samson – wonderful tearjerker – great lyrics – except for fucking wonderbread (editor’s note: an earlier, slower, sadder version of the song that later showed up on “Begin To Hope” and your ex-boyfriend’s Facebook wall you clever girl you).
Oedipus – Beautiful “thirty-two-AH” (not like Metallica though) – the play from oedipus’ perspective-woo! – Great “Oedipus x 4” hook.
Prisoner – A little nondescript, nonhooky – “yo mamma was heee-uh” – annoying idiosyncracies – my momma thinks i’m grown but i’m really just little” – still a heartfelt moment even in this fairly throwawayish song!
Reading Time With Pickle – again nonhooky – greatly analyses pickles – hee! – ingredient list = lyric
Consequence of Sounds – This album’s “Pavlov’s Daughter” but with no annoying beatbox, and
reliably good lyrics – haha, ani difranco! – “cubicle” line canceled out by “hippie shit” line – jerky, catchy piano melody and eggslant “ahhh” bit.
Daniel Cowman – a man sentenced to death reflecting in his last moments on earth about bathing and advice a heroin addict gave him.
Bon Idee – “Don’t tell your secrets to anyone Because ideas are vulnerable As soon as you say your idea out loud Then it can go and live on its ow And you will miss it oh so much And you will wait for it’s return And you will wish it were your own But ideas that left never come back home” – voice melds with boring melody so fucking well! – anti-expression! – my computer is convinced it’s 18:59 long – all vocal hook
aching to pupate – “Grifeichadam on 03-19-2006 @ 03:51:22 PM Obviously it’s a sad story about an ugly hooker. ” (Editor’s note: The above is a guy on songmeanings.net “interpretation” of this song. It’s the first comment and so out of nowhere that I found it hilarious) – interesting vocal tricks, but like most of her vocal tricks, less
interesting than her actual “making songs good” – nostalgia for 17-year old girl-hood – A capella
Lounge – even the boring songs have something great to them! – slow-paced, but great lyrics agaaaain
Lacrimosa – Nah, nothing really going on here, but still some good words about how the
dead stay dead, and dr. icarus the cliche monster
Lulliby – Nice little lovelorn NYC paean, very sleep-inducing
Ne Me Quitte Pas – Catchy mcvocal hook city –

constant discontent without being whiny – fantasmic tone- only vocals and piani and all produced the same because Regina was still poor. – story idea: hipster ordering a drink and falling to his doom – everything’s great except for her vocal “ticks” which pop up a lot even if it’s

With that stellar journalism out of the way, I’ll just say that it’s quite worth it, and makes the albums you know and love make more sense without being a waste of time in itself. As soon as you hear “Samson” you know that she’s not a young curiosity anymore (as she must have been in the 11:11 days). It shows an artist trying 80% to make a “real” album and only partially cutting it with oddness. I feel like she wanted to enter the real world of musicians but knew she didn’t quite have the album together yet and didn’t want to betray her scene, but she knew that she had the songs and talent and work ethic most aspiring musicians (and writers, haha!) lack. Also, next time she’d be nice enough not to have the two best songs at the start.

Also, have I not mentioned how beautiful her voice is? It’s pretty much the whole greatest!

7/10

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