Anthony Minsky

New Song - Blood Of Eden

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Thank you, Shane D. ! That was exactly what I meant.

It is a magnificent album which ranks among the best of any current singer songwriters, IMO

I wholeheartedly agree. I actually liked Far better than WWSFTCS. It was my first sample of Regina's music. The lost wallet, the hearts of stone which sparked, The Human of The Year, I will never get tired of these modern fairy tales no matter how much I listen to the songs. When I first saw the tracklist of WWSFTCS I knew at once that only 'Jessica', 'How' and 'The Party' are new, and got myself very excited about new poignant,heartwarming worlds and stories that only Regina could create. I guess that was where my disappointment of WWSFTCS came from. Daniel Cowman, Marry Ann, Karl Projectorinski, I missed these characters, these reflections of our vast and ever-changing human nature, so much. Most of all, I miss Reginapolis. And I hope, no, I know Regina will bring us back there one day.

On a different and much lighter note, kudos to the other artists who worked on the album ! They all did a smashing job of their covers. I especially liked Feist and Timber Timbre's rendition of 'Don't Give Up'

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I agree with Shane D. and sweetness . This song is pretty enough to like but too safe for me to fall in love with. And although it breaks my heart to admit it, I felt the same with 'You've Got Time' and WWSFTCS. Don't get me wrong, I still love Regina's music to the point of heartache. Perhaps this snippet of a Far review from Popmatters put it more aptly :

But as she gets more widely known, more popular, Regina Spektor will paradoxically have to work harder to maintain that persona she’s built up over the past eight years. The old fans want that feeling of discovery again, the new ones can have their sweet melodies. It’s not as if Spektor’s lost it all, though—truth is, she doesn’t have to do too much. Just say in that childlike voice, “Hello, hello, calling a Karl Projectorinski to the front "

I am a late bloomer to Regina's music ( post - Far ) , so I might be totally wrong here, but I feel the entrancing quality in her past songs are harder to find in her recent songs. It was as if her personality is being overshadowed by the lush productions of her recent releases. I still remember the feeling of utter serenity and bliss when I first heard "Lounge" and "Just Like The Movies", and I hope (oh god how I hope!) to rediscover that feeling again in her future releases.

:o This speaks my heart perfectly about Regina's newer work. Before I go on, I want to give a disclaimer: they always were and always will be her songs. She can play and produce, ignore or exalt them at her discretion. I am not at all speaking of Regina's choices as an artist, whether she's still honest, creative, independent, and unique. I don't believe these qualities can truly be taken from a person; that's part of who she is. No, my trouble is, I don’t connect as much with her newer works. We all seem to see a change happening, but where, and how? Is it for the better? Will she ever again make something that grips my heart and makes my imagination dance?

I have never understood what's so special about her music to me, but I think perhaps ChooSum has nailed it: her personality. It leaked, oozed, sobbed, lilted from her old work because personality is all she had to work with. It wasn't about the instruments used. Whoever complained of the drums on 8th Floor and AB? The strings behind You and Hero? What about the echo on Flyin’? Not me; I did not fall in love with her production, but with the artistry of its execution. Regina would render herself an instrument: the canvas was silence (or crowd chatter, sometimes!) and with her voice and musical instruments she became her own paint to produce a million tiny worlds, portraying both the subtleties and the broadest of strokes, of humans living life. Because her production studio was a ways off, she pressured herself to transcend. Those songs were performed with precision and class, staving off mockery and enriching those who listened closely enough to hear. And this brings me to my point: these newer releases lack that sweet balance between personality and mechanized processes that caused me to become a fan in the first place. Even her unparalleled melodies, when sung without her heart, become as much a computer's contribution to a track as autotune and drum machines. In other words, they contain nothing of Regina. There are few moments where I, personally, saw Regina, just Regina, on far. There were more of them on Cheap Seats.

I bring this up because I am not trying to eulogize my fandom. I still believe I’ll fall for her work again; she's still herself, and she could never be anyone else. So why in the world would I not have a fair shot at loving what she makes down the road? What I hope to see from Regina is to remain a soul first, and a singer/producer/industry player second. No drumbeat or “gloss” could ruin my favorite fan recordings because production in those recordings is irrelevant: what grabs me about her work is her personality.

The more personality that surfaces, the happier I am with the track, plain and simple.

And I'm not hating on far or Cheap Seats: I do love both albums, but it's not the full brunt of the love I have for her work on the whole. Even a "throwaway" from Regina's songs beats the 'top-40' list by a mile! I'm not saying the new stuff stinks, I'm saying that in my experience it is lackluster for Regina, and by comparison makes me worry that, for me, her best years are behind her.

Time will tell. This Blood of Eden cover is quite nice, and I believe it will grow on me; it does not showcase what I love about her work, but hey, it's still a solid performance of a great song. So props to Regi, even if it didn't change my life. :P How many artists have fans who would even dream of such a notion?

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I agree with the idea that Regina's newer works kind of lack the soul that earlier ones did.

But does anyone remember the interview where she was talking about how, in the beginning, all she had at her disposal was her piano and her voice? She said something about having to "imply" a lot of things -- she doesn't have to do that anymore. Maybe she's just trying to adjust to all the technology that's now available to her, trying to find her footing again.

I doubt that ~Soviet Kitch was the last we'll ever see of good old soulful Reg. :D

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Regina's albums do not contain songs in chronological order as many of the people on this forum are aware.... It is the production and technology used which changes, not her songs... Personally, I like some of the new arrangements better, although not always. For example, I prefer the newer Sampson which I know many people disagree with.. her vocal interpretation is more sophisticated... To each their own, of course...

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Regina's albums do not contain songs in chronological order as many of the people on this forum are aware.... It is the production and technology used which changes, not her songs... Personally, I like some of the new arrangements better, although not always. For example, I prefer the newer Sampson which I know many people disagree with.. her vocal interpretation is more sophisticated... To each their own, of course...

Yeah, of course! I know Regina's songs aren't recorded in a chronological way. I just meant that Reg might not feel that she needs to infuse as much personality into her music anymore, even older songs -- because of how her increased access to technology can now realize those implications she'd had to make before. Maybe I'm wrong!

Edit: Just to clarify, I still love everything she's done. Even if I kind of think she's still adapting to everything at her disposal, it's clear that there's still so much undiluted Regina in everything she does. So...

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I am not starting on the Far versus everything else thing again.I love Far---it was the best album of the year that year and my only complaint about WWSITCS is that it was too short.

As for Blood of Eden, I would love to see liner notes (I bought it digitally). Many people think Gabriel is the back up vocalist. I dunno.

I Iiked Genesis all right, Peter Gabriel as a solo guy a little less so, but Regina takes one of his dramatic overwrought epics and turns it into an anthem. This is just stunning. There is nothing she cannot do.

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