There is no modern songstress who is quite like the quirky, raconteur Regina Spektor. The Russian-born singer-songwriter gained popularity with tracks from her debut album, Soviet Kitsch, and sophomore release, Begin to Hope, appearing on popular television soundtracks (Grey’s Anatomy, Weeds) and winning over fans with her unpredictable vocal range and creative approach to the anti-folk genre.

Unfortunately, Spektor’s latest album, Far, lacks the versatility and substance of her earlier work. While Spektor does not stray from the eccentric lyrics and vocal twists fans have come to love, Far is what one would expect to find on a quality B-side release, with a few unsuccessful, experimental tracks thrown into the mix.

Although they vary in musical style, the first three tracks are the best on the album. “The Calculation,” features lighthearted, bright melodies combined with unusual lyrics. The catchy beat makes this song one of the better tracks and it could definitely be used in one of those beguiling, hip television commercials. The second track, titled “Eet,” is a testament to Spektor’s impressive vocal ability. She manages to make a chorus of “eets” sound undeniably smooth and not one bit annoying. With deeper lyrics, this song displays the reliable emotion present in Spektor’s previous albums. “Blue Lips” is the perfect compromise between the bright sound of “The Calculation” and the subdued “Eet.” The abrupt chorus breaks the song up in a startlingly lovely way.

After the first three tracks, Far starts to fall apart. “Folding Chair,” while cheerful, has a repetitive, annoying chorus and cringe-inducing dolphin noises. “Machine,” one of the more experimental tracks, is unbearable. The introduction is promising, but once the chorus starts, Spektor’s singing is overpowering and misbalanced. “Machine” has an innovative sound, but somehow Spektor’s voice fails to successfully mesh well with the beat.

In the song “Dance Anthem of the 80’s,” the rhythm is again catchy and the song is creative, but the repetition becomes obtrusive. “Laughing With” may be one of the more successful tracks on Far, but the preachy and cyclical lyrics, “No one’s laughing at God when” become tedious. In an interview with the New York Times, Spektor explained, “I’ve always been fascinated with faith and religions. Sometimes I’m sarcastic about it, and sometimes I’m in awe.” While this helps to explain the religious illusions in many of the tracks on Far, it can get a bit overwhelming.

One of the later tracks, “Genius Next Door,” truly highlights Spektor’s ability to captivate the listener with her storytelling and includes an intoxicating classical piano underscore. Unfortunately, most of the later tracks are forgotten in disappointment of the middle tracks. “Human of the Year” and “Two Birds” may not be failures, but they stop short of great and are not memorable.

While it may be “far” from a complete disappointment, Far will no doubt leave fans of Regina Spektor’s older albums dissatisfied.

3 stars out of 5