独树一帜个性表态且魅力无限的独立派创作才女，2016全新创作专辑！ 邀请英伦全方位才子Leo Abrahams (Paul Simon、David Byrne、Brian Eno)操刀製作！ 于创作期间以充满期待与感动心境迎接人生第一个宝宝，凝聚更多艺术想法与灵感！ ★纽约客：「她丰富感情交织的流行音乐风格，带著独特个性、忧愁和理智感，并且从不会缺少轻快的时刻」 ★时代杂志：「无论任何范畴类型的歌曲，史派克特都是最佳诠释者」 ★滚石杂志：「史派克特已成为她时代的Joni Mitchell，一位能充分运用感情信任和俏皮话的唱作人」 ★NPR Music：「一位独立的唱作人，她的声音能够跨越流派，带给人们恩惠以及提供情感上显著的缓解」 摆脱传统的框架，跳入没有设限的音乐奇想世界，瀰漫瑰丽的气息并处处充满片段惊喜，字裡行间透露令人折服的自信，在Regina Spektor甜美动人的外衣下，隐藏著独树一帜的个性表态。就是这种难以抵挡的魅力，让她入选VH1频道『你必须知道：快速窜升艺人』、Blender杂志『摇滚界百大火热女性』等名单，并获得滚石、浮华世界、纽约时报等传媒一致推荐。除了音乐创作，也相当注重视觉美学的Regina，并获得葛莱美奖『最佳影视媒体作品歌曲』、MTV音乐『最佳艺术指导』等大奖提名肯定！ 来自音乐世家，6岁开始学习钢琴，就连吉他、贝斯都难不倒Regina。9岁随著家人自莫斯科搬到美国纽约定居，17岁之前著迷于古典领域，直到接触大量嘻哈、摇滚、庞克乐种，让自己的音乐视野更加开阔，后续研习正规的编曲课程。自製发行的处女秀“11:11”，包覆大量传统爵士和蓝调之音，接著发表“Songs”以及投入主流厂牌Sire旗下，入籍NME『2000年代百大经典专辑』的“Soviet Kitsch”，将其知名度渐渐打开。2006年的“Begin To Hope”，引发市场关注，全球销量突破百万大关，被选入滚石杂志的『2006年50张最佳专辑』名单。2009和2012年送上“Far”、“What We Saw From The Cheap Seats”两张作品，全部保送告示牌季军席次，还应邀至白宫献唱、成为各媒体新宠儿，争相选用歌曲当配乐！ 第七张个人大碟“Remember Us To Life”，Regina的心境充满期待与感动，在迎接人生第一个宝宝的过程中，凝聚更多艺术想法和灵感，写下所有新歌。邀请英伦全方位才子Leo Abrahams(Paul Simon、David Byrne、Brian Eno)操刀製作，于Regina熟悉的音乐版图中做些改变，以一位太太、妈妈等不同立场看事物，更为温暖地引导出全新听觉飨宴。首波主打「Bleeding Heart」，善用轻巧愉悦的音符贯穿，钢琴、弦乐和微量电子颗粒窜动，组织出顺畅调性一如往昔的讨喜，后段戏剧效果十足的演绎片段，突显情绪的高潮起伏，是支构思细腻、编曲上乘的佳作；犹如街头交响诗的「Small Bill$」，接近说唱的诠释方式，渗入R&B的元素，俏皮又具创意的飞扬律动，提供聆听者无限的想像空间！ Regina Spektor’s latest album takes the unabashed earnestness that has always marked her music and rewrites it in a somber, minor key. Nobel Prize precedent aside, this is not a particularly great time to be a pop singer-songwriter. Royalty pay is underneath the toilet for most songwriters for hire, and solo songwriters aren’t faring much better. What used to be, for better or worse, its own genre—a solo acoustic, piano or guitar, maybe some strings—is practically nonexistent in today’s market. The pop chart has drowned it out for years. The alternative music charts are capricious, but lean rock and male. The adult contemporary chart is basically just the pop chart, minus rap. It’s not that these artists have stopped making music. That music’s just been decontextualized and diluted-down and flung in a dozen directions. You can succeed with traditional singer-songwriter fare if you're male—see Ed Sheeran, or Jake Bugg, or whoever else is being heralded as the savior of musical authenticity this year—but if not, your niche is dead of a thousand market fluctuations and Lilith Fair insults, and your options are limited. The closest things in the past few years to traditional singer-songwriter hits are Rachel Platten’s “Fight Song,” which sounds basically like Katy Perry, or Ruth B’s “Lost Boy,” which is literally four-and-a-half minutes of Vines. Such a market doesn’t allow singer-songwriters much of a legacy. The 2000s had no shortage of talent, much of it sharp enough to resist dumbing-down and some of it rewarded commercially, but it hasn’t produced a mainstream household name, a Fiona Apple or a Tori Amos. In an alternate universe one of them might have been Regina Spektor, whose 15-year career deserves much more recognition than it's gotten. The problem is, there are two Regina Spektors: the public perception and the actual musician. The actual musician records character studies, often set to dizzying classical-piano gusts like “The Flowers” and “Aprés Moi,” and writes with an earnestness not often seen these days. You can draw a direct line from Spektor’s albums to artists working today like Sara Bareilles or Ingrid Michaelson. The public perception takes that earnestness and recasts it as one-dimensional quirk—it’s probably not coincidental that this style of music peaked around the same time the “manic pixie dream girl” archetype did—in order to dismiss it. This has actually been an incredibly good few years for Spektor; her theme song to “Orange Is the New Black” was nominated for a Grammy in 2013, and she’s recorded with artists like zeitgeist-y Chance the Rapper. But it’s been a low-key kind of success, one that hasn’t resulted in any inescapable singles like “Fidelity” or “Samson.” And yet, Spektor has continued to release, every couple of years, some pretty decent albums. Remember Us to Life is another pretty decent album, but a more somber affair. Spektor recorded it with a full orchestra—“I almost felt like the subconscious of the record was strings,” she told Rolling Stone—and it lends the album a certain weightiness. There are undertones of preoccupation with one’s legacy throughout. It often rises from subtext to actual text, as on the resigned “Obsolete” (“This is how I feel right now: obsolete manuscript no one reads and no one needs”) or “Tornadoland,” which sets Spektor’s plainspoken line against a blossoming orchestral swell that at one point resolves itself into something resembling the THX intro. Against this, Spektor’s piano line becomes an almost cartoonish downward dive, matching the lyrics: “Everybody’s time has come, it’s everybody’s moment except yours.” The mood is one of panic, restrained until the moment it no longer can be; see also single “Bleeding Heart,” about pain tamped down, featuring a bridge that shouts and claps and exults until it too is snuffed out. The biggest buy-in with Spektor’s music has been that earnestness, its requiring you to be OK with songs that talk about rowboats feeling trapped in paintings, or laughing at God as one of us, or ditching your corporate job to take off your shoes and splash around in puddles. Remember Us to Life doesn't dispense with these nostrums, but it does rewrite them in a minor key. “The Trapper and the Furrier" is much like “Ghost of Corporate Future,” but the shoe-splashing of the former is replaced by a funeral dirge in which the rich only get more, more. If that sounds dreary, “Small Bill$” is what passes for upbeat: the same message (pretty much Discworld’s Sam Vimes theory, rewritten to include weed and Coca-Cola and an implied 99% uprising), just in the form of funhouse cabaret with bitterly lilting backup vocals. (If that sounds equally intolerable, Spektor’s probably never going to be for you.) Remember Us to Life suffers from inconsistency; against the weightier atmosphere, less adorned, more traditionally Spektor songs like “Older and Taller” or “The Light” sound like they come from an entirely different album. But Spektor’s albums have always been tonally inconsistent—Begin to Hope had classical pieces “Aprés Moi” next to ballads next to electronic moves like “Edit” next to fizzy and (yes) quirky singles like “Fidelity” and “On the Radio,” and it all was perfectly fine. In Spektor’s catalogue, Remember Us to Life balances comfort food for Spektor fans with the maturity and wisdom you'd expect from a singer-songwriter passing the 15th year of her career. CORRECTION: The original version of this piece used an incorrect title and insinuated that Spektor received a Grammy nomination in 2016.