Regina Spektor: What We Saw from the Cheap Seats – review

Regina Spektor has always danced a fine line between engagingly eccentric and wincingly affected, her whimsical excesses redeemed by irresistible melodies. But her sixth album leaves you with a stronger impression than usual of being won over against your judgment. Patron Saint and Open are examples of the kind of richly upholstered chamber pop she does so beautifully, while Jessica is an elegant acoustic sketch. But her Italian accent on Oh, Marcello! and vocal trumpet sounds on The Party are kooky irritations. She's still a pop maverick worth cherishing, but you wish she'd tone down the quirkiness just a little.