Posted by Leilani Polk on Jul. 15, 2009, at 12:51 pm
It’s been three years since Soviet-American songstress Regina Spektor first enchanted us with the soul-pop perfection of Begin to Hope and proved herself a storyteller with a keen sense of detail and drama, a confident singer with a broad vocal range — from high and pure to low and sensual — and a poet with a unique use of words and an alluring inflection, not as if English were her second language, but as if she’s established a whole new charming style of speaking.
The follow-up and Spektor’s fifth studio album doesn’t quite attain the catchy ease of its predecessor, but far (Sire Records) carries its own abundance of appeal.
In the bouncy opening track, “The Calculation,” Spektor playfully ponders the mathematical equation of love and the surprising fury of its burn while in “Folding Chair,” she enjoys a casual day at the beach with her sweetheart and daydreams of domestic bliss (“Let’s get a silver bullet trailer, and have a baby boy / I’ll safety pin his clothes all cool and you’ll graffiti up his toys”). “The Wallet” shows her way of making the mundane seem remarkable with a touching ballad about finding someone’s lost wallet, and she combines quiet, abstract contemplation with grandiose stretches of piano and rhythmic flourishes in the melancholy yet somehow uplifting “Eet.” (Video after the jump) Read the rest of this entry »
Posted by Leilani Polk on Jun. 5, 2009, at 2:14 pm
Several days ago, while watching Marco Benevento fire up his piano on a YouTube video, I got to thinking — who are some of the best keyboardists around right now, the ones who truly bring chops to the table, either via instrumental compositions, or songwriting, or both? I’ve tried to go less obvious — no one’s questioning the skills of Gregg Allman, or Keith Emerson, or Count Basie, or Richard Wright, or George Duke, or Dr. John, or interchangeable piano men Billy Joel and Elton John, or even the wondrous Stevie Wonder. We all already know those dudes are at the top. But what about some of the less obvious, but no less great? In the vein of Ivan’s Top 5 Bass Players Ever — except that, despite the title of my post, I’m not really claiming these are the best key players ever, just my favorites — I’ve put together the following list, in no particular order, and with video.
Marco Benevento
He’s among the most talented keyboardists around right now, in my humble opinion. He’s pretty hip to current technology and usually incorporates it into his compositions. I’ve seen him play in his main band with drummer Joe Russo, the Benevento/Russo Duo, I’ve seen him perform as part of a Led Zeppelin tribute, Bustle in Your Hedgerow, I’ve seen him tear it up with Russo, Mike Gordon and Trey Anastasio during the GRAB tour, and I’ve seen him in his solo project, a trio with badass bassist Reed Mathis and drummer Matt Chamberlain. The following video Marco with his trio playing “Twin Killers” from a May 13 show in Philly.
Posted by Leilani Polk on Jun. 5, 2009, at 12:47 pm
I fell in love with Soviet-born songstress Regina Spektor a few years ago with the release of 2006’s Begin to Hope. While I was initially turned off by the inherent pop marketability of the album (it’s almost too well-produced for its own good), I was drawn to her poetry, to the sweetness of her accented voice, to the moments of her singing in her native language. (There’s more of that on her earlier self-released albums, though she really does it best in her third album, Soviet Kitsch.)
Anyway, the point of this post is that Miss Spektor is set to finally release the follow-up to Begin to Hope and I am stoked. Other than her adorable duet with Ben Folds, “You Don’t Know Me” — the first single off his 2009 album, Way to Normal — Spektor has been virtually MIA for far too long. Now, she’s gearing up for a worldwide release of far, due out on Sire Records June 23. (The official press release with info on her upcoming Letterman and Good Morning America, track listing and European tour dates, and the video for her new song, “Laughing With,” after the jump.) Read the rest of this entry »
It’s been three years since Soviet-American songstress Regina Spektor first enchanted us with the soul-pop perfection of Begin to Hope and proved herself a storyteller with a keen sense of detail and drama, a confident singer with a broad vocal range — from high and pure to low and sensual — and a poet with a unique use of words and an alluring inflection, not as if English were her second language, but as if she’s established a whole new charming style of speaking.
