Tori Amos: Abnormally Attracted to Sin
Tori Amos: Abnormally Attracted to Sin
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Tuesday, 12, May 2009 01:22
Universal Republic, out May 18th.
In a nutshell...
Strange. Relaxing. Passionate. Distinct. Classical.
What's it all about?
It's another story-telling album filled with all the classical instruments you can muster along with cracking vocals, as is the way with Ms Amos, though this time it's done off her own back following a separation from Epic Records to become artistically independent.
Who's it by?
Tori Amos is an artist working in the industry for over 20 years. Fans from around the world have come to love her passionate style, harnessing any instrument which has keys to deliver her very own sound. This release marks her tenth studio-produced album.
As an example...
"Don't you forget you bring your sun/Just enough for everyone/For everyone/Welcome to England." - Welcome to England
Likelihood of a trip to the Grammys
It's hard to discount someone with so much credibility and respect in the industry. It's hard to nail down exactly which category she'd fall into, though she seems pretty bloody good at it.
What the others say
"Occasionally vague, sometimes incohesive and a little self-indulgent it may be, but ultimately Abnormally Attracted to Sin is an abnormally attractive piece of work, and another fine example of the shining talent that is Tori Amos." - Ed Miller, Drowned in Sound
"Unfortunately it lets itself down with its seeming lack of direction and the splattering of a few more average numbers amidst the many gems." - Kate Horstead, Gigwise
So is it any good?
Sometimes, it's hard to explain why certain artists are overlooked or forgotten in this world. Tori Amos happens to be one of them, though she's not even tried to give up: Abnormally Attracted to Sin is here and it's packed full of things which Tori fans will fall in love with.
Luckily, for those who aren't aware of her previous work, it's a good introduction - Little Earthquakes for Dummies, if you will.
Because she's been around for so long, it's hard to compare her to people when it's more legitimate to say it's the other way around. That said, there's certainly a little Kate Bush in this one; the English wailer's style in tunes like Strong Black Vine comes through quite nicely, though Tori does it to the extent where it's still nice on the ear drums and not an incessant siren-like screech.
It's easy to draw parallels with Alison Goldfrapp quite early on, too, particularly in Tori's vocals in Give. Then again, it's hard to see Tori Amos spitting her dummy out during a gig due to a bad temper and stomping off the stage, which is where one of many Goldfrapp similarities stops.
Any listener will find it hard not to get blown away by this album. Each song is quite distinct, which is an achievement considering it mostly revolves around synthesised beats, orchestral backing, keyed accompaniment and a dedicated drummer.
The variety is really spot on, too. Welcome to England is great and reflects Tori's Anglo-American background, bringing about the story-like element to her music which many people enjoy. Police Me ramps up the rock aspect of her range. The title track reflects the very name of the song through a dirty synth, slow drum beats and her usually beautiful vocals. And yet it doesn't stop there.
Starling opens like a Massive Attack song and nails the intro perfectly. Not Dying Today is, surprisingly, one of the most upbeat songs available and it's top notch. And so the praise continues.
The stand-out track seems to be Strong Black Vine. The dramatic string quartet which accompanies her is more at home as the intro coverage of a major sporting event on the BBC, such is the gravity of the chords. Tori's voice eventually wins free, though for a while it seems to be a battle of which one of the players is best, which is extremely hard not to like.
Sure, a handful of songs aren't hugely impressive. For all of its happy tones, That Guy misses the mark a little, ending up sounding like a Tom & Jerry cartoon in Soviet Russia - cold, menacing and yet a little bit slapstick. Maybe slapdash. Mary Jane is a little bit fractured too, though it's not immensely awful. It may be due to it being one of the few piano-only tracks, undermining the sheer impact of the other tunes. Not that this is bad, of course - it just doesn't quite fit.
The opening track Give is also a bit of a weak choice to open up to, though it acts as a clever decoy before the faultless three tracks which follow it.
Still, if anyone tells you that this is not worth a listen, then shoot them in the face. Failing that, a blunt instrument will do. Then make them listen to it. The beautiful voice will soothe their dented and pierced skull and show them what true passion and experience is in music today. Their final moments will be pretty comfortable, as a result. What could be nicer?
9/10
Matt Gardner