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Regina Spektor (Russian: Регина Спектор; born February 18, 1980) is a Russian-born Jewish-American singer-songwriter and pianist. Her music is associated with the anti-folk scene centered on New York City's East Village.
Spektor has said that she has created 700 songs,[7] but that she rarely writes any of them down. She has also stated that she never aspired to write songs herself, but songs seem to just flow to her.[8] Spektor's songs are not usually autobiographical, but rather are based on scenarios and characters drawn from her imagination.[9][4] Her songs show influences from folk,[10][11] punk, rock, Jewish,[9][12] Russian,[9] hip hop,[10][13][14] jazz,[10][13] and classical music.[9][13] Spektor's musical style has drawn many comparisons to fellow singer-pianists Tori Amos and Fiona Apple,[15][14] as well as the vocal stylings of Björk. Spektor has said that she works hard to ensure that each of her songs has its own musical style, rather than trying to develop a distinctive style for her music as a whole.[8]
Spektor possesses a broad vocal range and uses the full extent of it. She also explores a variety of different and somewhat unorthodox vocal techniques, such as verses composed entirely of buzzing noises made with the lips and beatbox-style flourishes in the middle of ballads, and also makes use of such unusual musical techniques as using a drum stick to tap rhythms on the body of the piano or chair.[16][4] Part of her style also results from the exaggeration of certain aspects of vocalization, most notably the glottal stop, which is prominent in the single "Fidelity". She also uses a strong New York accent on some words, which she has said is due to her love of New York and its culture.[1]
Her lyrics are equally eclectic, often taking the form of abstract narratives or first-person character studies, similar to short stories or vignettes put to song.[16][1] Spektor usually sings in English, though she sometimes includes a few words or verses of Latin, Russian, French, and other languages in her songs. Some of Spektor's lyrics include literary allusions,[4] such as to F. Scott Fitzgerald and Ernest Hemingway in "Poor Little Rich Boy", The Little Prince in "Baobabs", Virginia Woolf and Margaret Atwood in "Paris", Ezra Pound and William Shakespeare in "Pound of Flesh", Boris Pasternak in "Après Moi", Samson and Delilah in "Samson", and Oedipus the King in "Oedipus", and Edith Wharton's Ethan Frome in "2.99 cent blues". She also used a line from Joni Mitchell's California in her song "The Devil Came to Bethlehem". Recurring themes and topics in Spektor's lyrics include love, death, religion (particularly Biblical and Jewish references), city life (particularly New York references), and certain key phrases have been known to recur in different songs by Spektor, such as references to gravediggers, the Tree of Knowledge of Good and Evil and the name "Mary Ann". Spektor's use of satire is evident in "Wasteside," which refers to the classic satirical novel by the Soviet authors Ilf and Petrov The Twelve Chairs, and describes the town in which people are born, get their hair cut, and then are sent to the cemetery.
In Spektor's early albums, many of her tracks had a very dry vocal production, with very little reverb or delay added. However, Spektor's more recent albums, particularly Begin to Hope, have put more emphasis into song production and have relied more on traditional pop and rock instruments.[3] Spektor says the records that most impact her are those of "bands whose music is really involved",[17] specifically naming The Beatles, Bob Dylan, Billie Holiday, Radiohead, Tom Waits, and Frédéric Chopin as primary influences
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