Russian New Yorker Regina Spektor returns with her first album since the Begin to Hope album, which launched her into the mainstream on a proverbial rocket. Far is a much more eclectic record than Begin To Hope and the balance between the serious and not so serious is much better on this one than on her previous work. Most of the album features Spektor dominating a piano and creating beautiful overtop of her odd, often dark, melodies and that is Spektor definitely playing to her strengths. The album features four producers (Jeff Lynne (ELO, The Traveling Wilburys), Mike Elizondo (Dr. Dre, Eminem), David Kahne (Paul McCartney, The Strokes) and Garret 'Jacknife' Lee (Weezer, R.E.M.) and each bring out a different strength, creating an interesting dynamic.
Far starts off a little slow with the less than stellar and not-so-interesting “The Calculation” and “Eat.” “Blue Lips” is up next though and it alone completely sells the album. It’s as dynamic as it is powerful and Spektor’s voice is absolutely perfect on it. It is coupled with the barebones and upbeat “Folding Chair” and they create a beautiful mess to be sure. There is no reason these tow songs should work together but they do. “Folding Chair” is fun, witty, and very Vaudeville-laden, standing in stark contrast to the heavy, handed “Blue Lips.” “Dance Anthem of the 80’s” is a quirky little electro-pop number that is exactly as it sounds and gives some relief to the moodiness of the album. The album’s final moment “Man of a Thousand Faces” is another excellent moment, exploring life in fascinating detail and featuring Spektor’s intriguing voice and piano work at the forefront.
If you like Spektor’s other works then you’ll certainly enjoy Far. If you are new to her music but you enjoy artists like Bjork, Ben Folds, Tori Amos, and Kevin Hearn, then you’ll find a good bit to enjoy here as well. Far is adventurous and moody and it doesn’t always fare perfectly but its way more interesting than most of the pop music the new millennium has produced thus far.
Reviewed by Mark Fisher
