Among the legions of indie pop princesses—from Joanna Newsom to Florence and her Machine—few are more revered than New York’s anti-folk wonder-worker Regina Spektor. Beginning with the rougish
charm of 2004’s Soviet Kitsch, Spektor has crafted a career of quiet importance, stringing sober topics like doubt, love and loss through whimsical, sparkling melodies with charming ease.
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