On Friday we got our FIRST LISTEN of Tori Amos’s new song Trouble’s Lament which is the first single from her forthcoming album Unrepentant Geraldines. But today we learn that a very lucky person has managed to hear the album in full and has shared their initial thoughts on the album with the Internets. The comments come from an anonymous person “in the media” so I guess it’s wise to take this information with a grain of salt. That said, the comments about Tori’s album sound very interesting. Apparently, Tori’s daughter Natashya Lórien duets with Tori (again) on the album … which sounds VERY exciting! UPDATE: More unofficial review commentary has come to light which you can read below.
From YesSaid — “A friend in media has heard the album and wanted to share some details anonymously:
- “Promise” is “kind of an R&B duet with Tash. No kidding.”
– The album is even more Americana than [Scarlet’s Walk].
– “Oysters” is one of the most beautiful piano-vocal songs she’s ever done. People will lose their minds over how gorgeous it is.”
– The Tash song is bizarre and so is “Giant Rolling Pin.” Both should have been b-sides or something. They don’t belong on an album.
– “Wild Way,” “Wedding Day,” and “Weatherman” (three W’s in a row!) are all fantastic. “Wild Way” is very sparse – “I hate you, I hate you” Tori repeats in a really tender voice, seemingly from the voice of a Native American woman to a pilgrim. Has a Venus-esque drum loop midway. “Wedding Day” is akin to “Carbon” in a lot of ways. Some Wurlitzer and piano and steady drums. – – – “Weatherman” is, if I remember correctly, mostly just piano and vocal.
– “Invisible Boy” is very tender a “Merman” and “Toast” hybrid. Tori chokes back tears at the end. The piano on the piano-vocal songs is INCREDIBLE.
– “Geraldines” is very weirdly structured. Lots of organ and layered vocals and then a weird super fast punk guitar and drum moment. This alternates for most of the song. Then the end has a piano solo that’s really dark and lovely and then it breaks into a second part that’s just Tori and vocal. She repeats “if you see the vicar’s wife” over and over.
– “Selkie” is also piano-vocal. All the piano is very satisfying. Nothing is dark, though.
This is an album that alternates between very very vibrant and very very melancholy.
I am DYING. I see no reason for someone to lie about the music that they heard so, for the most part, I believe all of these comments are genuine. Tori’s daughter Tash has appeared on her albums Midwinter Graces and Night of Hunters so I can believe that she would appear on Gerladines as well. I am very interested to hear how her young voice has matured in the past few years. I’m very encouraged by the comment that likens this new album to Scarlet’s Walk … I got that same vibe from Trouble’s Lament. Hopefully we won’t have to wait too long until the official album reviews come out. I’m going to do my best to get a hold of a preview copy of the album for review. It won’t be long now. We’ll be hearing this new album soon. Maybe not soon enough for some but soon.
UPDATE: Here is a bit more unofficial review commentary that comes from the same anonymous source, courtesy once again of YesSaid.com:
Lots of references to other songs on this album. Expect the return of the “cloud riders locking up their skies” on this album.
“16 Shades of Blue” is what she clearly tried to achieve with “Fire to Your Plain” and “Cars and Guitars” type of songs. She finally achieves it here. It’s spacey, it’s confrontational, it’s a little sexy, a little sad, has weird distortions and hip hop drums.
There’s a lot of sonic space on this album. Tori’s voice seems most important and she is very clear – you can understand her lyrics without even reading along! – and, not to make anyone go into a tizzy, but you hear way more breathing on these songs than the past few albums. She’s not panting or filling the speakers like she once did, but there are soft inhales and exhales on most songs (think “Dragon” or “Curtain Call”).
“Rose Dover” is described in the press release as mid 70s Queen meets Joni Mitchell folk, which is kind of true. But to me it did a weird alternating thing between dark witchy and slow (think Smokey Joe or Scarlet’s Walk) and then veered into lullabye (I Don’t Like Mondays). RD, like a few other tracks, suffers (or is enhanced by, depending on your tastes) from a weird but very brief “Starling” electric-Beatles break down that quickly shifts back to the main sound of the song for the ending.
AHHH!! More more more, I want to hear more :)