Regina Spektor knows she’s good. While most artists struggle to capture just one sound, Spektor, a singer-songwriter and a classically trained pianist, is totally comfortable navigating diverse styles. This impressive range is on full display throughout her new album, What We Saw From The Cheap Seats. She shifts effortlessly from playful pop tunes to slow, mournful ballads, always accompanied by her piano.

Even on individual tracks, Spektor refuses to stick to one template. On “Oh Marcello,” Spektor fakes an Italian accent while pseudo-covering Nina Simone’s “Don’t Let Me Be Misunderstood,” mixing in irreverent, yet playful staccato and finally mimicking a kick drum. Rather than overwhelm the listener, Spektor’s antics communicate an exuberance that makes listening to her like watching a kid proudly show you all her favorite toys.

On the dark, introspective “Open,” Spektor achieves an entirely different effect. As the piano slows and softens, Spektor starts whispering. Suddenly, her voice rises to a crescendo, each word punctuated by a guttural gasp. The effect is haunting.

But the true testament to Spektor’s musical ability is that, despite the vast array of styles she uses, the project never seems jumbled. Instead, it hangs together as a rather charming exhibit of Regina Spektor’s versatility. (7/10)