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May 29, 2012 | 1:03 a.m. CST
After debuting in 1991, Regina Spektor continues to please audiences with her sixth studio album released today.
What We Saw from the Cheap Seats highlights Spektor’s whimsical style by emphasizing the different uses of drums as well as Spektor’s ability to use her voice as an instrument of its own.
The tracks on her album don’t deviate from her distinct sound and quickly remind listeners: this is the same Regina Spektor from the past 21 years.
Spektor’s ability to sing in various accents and to alter her voice to be instrument-like makes many of the songs on the track playful and also fun to hear.
Within the first 20 seconds of “Oh Marcello,” it’s difficult to determine what language Spektor is using, only to realize that it’s just English.
Her ever-changing voice, paired with the strength of the piano and drum, makes the album fitting for any mood because each song reaches a different level of emotion.
The order of the tracks plays an important role on this album. Although the tones in the song vary from track to track, Spektor takes listeners on a trip to feel emotions never experienced.
The tropical steel drum in “Don’t Leave Me (Ne Quitte Pas)” hits the happiest nerves and triggers memories of a full day spent at the beach. The conflict in the message and tune make a strange combination yet an addicting earworm. Only she can grovel for someone to stay by her side and still sound happy.
Then, Spektor immediately turns to a ballad. After heightening the mood early in the album, “Firewood” changes pace and is the strongest of the set. What We Saw features several of these ballads that carry different messages about politics, love and friendship.
After six years of waiting, audiences now have their anticipation fulfilled. Spektor serves up a fantastic new album worthy of the wait.