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Elizaveta’s music is weird… and I like it

February 15th, 2012 · 5 Comments

You guys, Elizaveta’s music is weird. Her album Beatrix Runs, which was physically released yesterday after arriving in digital form a few weeks ago, fuses opera, chamber pop, and electronica into this Regina Spektor-Tori Amos-Enya combination that really stands out from everything else I listen to. I only discovered her work, in fact, because it was on the iTunes homepage. (Nice work on that ad buy, Universal Records!)

But here’s the thing: Elizaveta’s music is also entrancing. I’m running out to see two plays today, so I can’t really get into it right now. But I wanted to put this in front of your ears. Take a listen to the songs embedded below, and then let’s discuss more thoroughly in the comments section.

(1) “Dreamer”  — The first single. Charming, bubbly.

(2) “Armies of Your Heart” — An electronic dalliance. Vaguely recalls The Postal Service.

(3) “Odi Et Amo” — Oh, are we in the 19th century? Is that a soprano high note and a thousand classical allusions? Why not?

Tags: Music

5 responses so far ↓

  • 1 Danielle // Feb 15, 2012 at 4:49 pm

    Thanks for sharing this. I really like what I hear of her music here. I’ll have to check it out further.

  • 2 nsfinch // Feb 15, 2012 at 4:49 pm

    You had me at “vaguely recalls The Postal Service.” I think that second track is my new favorite song.

  • 3 David // Feb 16, 2012 at 1:08 am

    Is classical synth-pop a genre? Does it need to be? Signs point to yes.

    I think one of the obvious disconnects here is that, in all three songs at least, her range is enormously higher than what she uses in the first verse or so, but by the time she hits the chorus, she’s knocking out the soaring operatic notes, which, as far as a rabbit to pull out of a hat. It’s easier to write her off as a pleasant, nondescript dime-a-dozen female pop vocalist in the first bits of the song, and by the time she hits the high notes, the songs start getting structurally tricky and adding in odd background vocals or handclaps, and everything just hits you all at once in a wave.

    She’s kinda extraordinary, really. I do also like that, on the first two tracks, she’s got similar moments where the instruments drop out completely, just leaving her voice with a slight piano backing. Again, she’s got the chops to be able to pull that off and hold the song together just on the strength of the vocal. Always a good sign.

  • 4 Mark Blankenship // Feb 16, 2012 at 11:35 am

    Hi David — Very well put. She does sound like a generic, piano-driven pop star at the start of almost every track on the album, but that’s just a lure to get our defenses down. The more I listen to the album, the more charmed I become by her willingness to push her song outside of the comfortable places where they seem to begin.

  • 5 Tyliag // Feb 24, 2012 at 11:17 am

    Mark, thanks to you, I’ve found The Joy Formidable and now this. I think you are sort of my musical soul mate. Thanks.

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