12 Songs, 46 Minutes


Ratings and Reviews

4.7 out of 5
248 Ratings
248 Ratings
frank off ,

moving backwards in time

Every time I get another album of Regina's I love her more and more. I started with Soviet Kitch and moved back to Songs, and then finally 11:11. The farther back I go, the more I love her music. Regina's songwriting is weird and original and she uses her voice brilliantly. Her Jazz and Classical training come out in this album more than they do in any others, and her ability to stretch and come up with so many different sounds outside of the normal stream of what musicians will do with their voices separates her from the bulk of other female recording artists who focus solely on sounding pretty and witty. Regina's voice is both pretty and witty, but at the same time completely untamed; running all over the page and expressing a wide range of human emotion.

If you're new to Regina's style I suggest getting one of her later albums (Begin to Hope, or Soviet Kitch) before buying 11:11, as she is definately an aquired taste, and this album is Regina in her purest form. If you're already a fan of her work, I definately recommend it!

lindzs ,

made me pause

i was listening to NPR "the next big thing" on a long trip home. I was floored by Regina's sound. I was even more surprised by how simple she spoke in the interview. She sounded as if she was a child....and then when she sang i was blown away. She sang a song that she wrote the night before. She never writes the songs down she just memorizes them. If you like Fiona Apple you will love Regina. I a very impressed

thirty_notes ,

"hey how much for that back of a head man?"

This album is great . . . in fact, Regina in general is great. My favorite album of hers is probably Songs, which (as luck would have it) they don't have on iTunes, but literally anything she's ever done is worth checking out. She plays piano beautifully, but her voice is her greatest instrument (and she does use it like one, stretching out syllables and scatting and doing all sorts of crazy things). Besides that, her lyrics are brilliant and mysterious. My favorite tracks on this particular album are 2.99 Cent Blues and Pavlov's Daughter, but they're all great. Hope you enjoy it . . .

About Regina Spektor

A veteran of New York's anti-folk scene, songwriter Regina Spektor makes quirky, highly eclectic, but always personal music. Born and raised in Moscow until age nine, Spektor listened to her father's bootleg tapes of Western pop and rock as a young child and also learned to play piano. She and her family moved from Russia to the Bronx, where she was immersed in American culture (at the time, hers was the first Russian family in the borough in 20 years). Eventually, Spektor and her family became part of a community that balanced her Russian Jewish roots with her new home's culture. Meanwhile, she continued to practice piano anywhere she could, including at her synagogue, until her family got a piano of its own.

Spektor further developed her classical piano training by attending the SUNY Purchase Music Conservatory. During her studies, she was exposed to blues and jazz artists, including Billie Holiday. These sounds made such an impact on Spektor that they became a big part of her self-released 2001 debut album, 11:11. At the same time, she was also playing gigs anywhere she could in the city, in venues ranging from basements to parties to comedy clubs. On the strength of her frequent performances and another self-released album, 2002's Songs, Spektor developed a following that included Alan Bezozi, They Might Be Giants' drummer. He introduced Spektor to the Strokes' producer, Gordon Raphael, and both worked with Spektor on her third album, Soviet Kitsch, in both New York and London (where she collaborated with the band Kill Kenada). Soviet Kitsch was initially self-released like her other work, but it eventually found a wider release with Sire Records.

Tours with the Strokes, Kings of Leon, Mates of State, and the Moldy Peaches' Kimya Dawson further raised Spektor's profile. She also toured the U.K., where the success of "Us" as a European single led to the release of the CD/DVD retrospective Mary Ann Meets the Gravediggers and Other Short Stories early in 2006. That summer, Begin to Hope, her first album of original material for Sire, arrived. Begin to Hope enjoyed popularity on both sides of the Atlantic and went gold in America, where it also cracked the Top 20. After taking several years to tour and compose new material, Spektor returned in 2009 with Far, which featured a bevy of star producers, including Jeff Lynne, David Kahne, Mike Elizondo, and Garret "Jacknife" Lee. Spektor’s first-ever live release, Live in London, was recorded and filmed at London's legendary Hammersmith Apollo, and released in 2010. In summer 2011, Spektor reunited with Elizondo in Los Angeles to begin recording her next album, What We Saw from the Cheap Seats. The dark, driving single "All the Rowboats" arrived the following February, and the album itself was released in May 2012.

Accompanied by a full orchestra on select songs, Spektor returned with her seventh studio album, Remember Us to Life, in September 2016. That summer, she also recorded a live set at Chicago's WTTW studios for the PBS series Soundstage that included songs from the album as well as older favorites. After airing on television that October, the performance got a multi-format release by BMG Soundstage in March 2017. ~ Heather Phares

Moscow, Russia
February 19, 1980




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