- 24 Apr 14
First album since 2009 for piano songstress sees her re-finding her muse.
It’s intriguing that Tori Amos has re-found her creative muse just weeks after Kate Bush unexpectedly announced an end to her self-imposed live exile. Amos, perhaps more than any other female artist, has carried the same experimental torch as Bush in her pomp. While it didn’t always work, nobody could say Amos’ career has been boring, with influences as diverse as the Gnostic gospels and the art of beekeeping keeping her music... absorbing.
Her first album proper in five years sees a re-energised Amos exploring familiar themes of female sexuality and religion. The music veers from the pastoral British folkie feel of ‘Wedding Way’ to the smoky blues crackle of ‘Trouble’s Lament’. The former’s multi-tracked vocals seep into your headspace, especially if you’re listening on headphones, while the latter sees her voice mutate from sweet whisper to howling banshee in a heartbeat.
Never afraid to take risks, Amos switches metre with alarming impact, sometimes in the same song: ‘Rose Dover’ morphs from a funereal piano dirge to sprightly ‘70s pomp rock without pausing for breath. The song was originally written as a lullaby for her now 13-year-old daughter, Tash, who sings on the bittersweet ‘Promise’.