ITN: "Tori Amos on why she's Abnormally Attracted To Sin"

Fonte: Undented.com e ITN

Drowned In Sound: ''Artist 'n' Artist: Catherine AD meets Tori Amos"

Interviewing bands as a fan or as a journalist is all well and good but there's only so much insight a 'critic' has. Musicians are like a totally different breed and if we've learnt one thing from our takeover weeks, it's that musicians talking to each other is incredibly illuminating. We're yet to come up with a great title for this new feature (Artist-on-Artist, Peer-to-Peer, Muso-mush...) but the concept of getting musicians we like to interview each other is a definite goer. Coming up next week, we have Ed from Grizzly Bear interviewing his band of the moment Phoenix, and Frederick Blood-Royale from Ox.Eagle.Lion.Man. talking to The Mars Volta.

To kick this series off we have one of our tips for 2009 Catherine A.D. speaking to the legendary Tori Amos about her new album Abnormally Addicted to Sin.

Waiting in the lobby of the designated Kensington hotel, the concierge asks me again if there's anyone they can call. The interviews are running late and I am conspicuously out of place amidst the beige on beige. It's like sitting in a room made of mashed potato. Which only serves to make me more hungry. I surreptitiously sneak bites from a Crunchie from my bag - I haven't eaten lunch yet and I don't want to pass out mid-interview. I’m trying not to get chocolatey crumbs all over The Beige but then think I might need to follow the crumb trail later to find my way out of the neutral labyrinth of endless, uniformly buff corridors... Finally the PR arrives to take me upstairs and the Sunday Times photographer is busy setting up shots in the adjoining room with one scary-ass freakishly-real looking baby-doll as a mooted prop. There is more beige. I am feeling like I might vomit up a chocolatey mess any moment. And then, suddenly, there is Tori Amos. Resplendently red and orange, and immediately intuiting how out-of-place I feel here.

"You are very artistic - you are the most artistic person I've met.. I've had the BBC here this morning and trust me, it's a very different look... this is gorgeous...you are a walking art piece - that's what you are - it does show and that is a positive thing and it's got to make you feel good - that's who you are and you are doing the right job"

And this is Tori: generous, intuitive, warm and welcoming. Putting you at ease with her languid, almost meditative, way of talking, unravelling each answer with nothing of the polished PR babble we have come to expect from today's generation of stars. We decide to up sticks from the (beige) sofa and armchairs and both end up perched on the huge windowsill that overlooks Kensington Gardens and the gathering crowds of lunchtime picnickers and Princess Diana pilgrims. I enquire about how she's feeling after having to postpone her show two days previously, only to find myself in the unexpected position of discussing the joys of food poisoning with Tori Amos... We try to figure out the finer points of the acoustics of the room and where the best position for the dictaphone might be - both laughing that you can never escape the producer and the musician in you. Perched on a book, atop wood (for the best resonance) is the solution decided upon. And so we dive in...

CAD: The new record is called Abnormally Attracted to Sin. Are there any particular ones you’re attracted to more than others? Could you expound upon the title? Obviously it’s a quotation from some Guys & Dolls dialogue...

TA: I’m sort of attracted to… figuring out why people are attracted to what they are... because… you know, I have a sister that’s a doctor, and sometimes she’ll talk to me about… “This is not an emotional conversation – there’s something within the body and the brain that’s attracting somebody to something.” It’s this whole [Lacuna, implying Emotion, the Unknown human element, etc.] “Versus Genetics and Sociology question”, and I’m fascinated by... why people choose a self-destructive path.

CAD: And so that’s being drawn to the Dark Side as it were? That it’s maybe not a choice, but perhaps it’s something genetically inbuilt, or predisposed?

TA: Well, I don’t know. I think we’re all drawn to [it]. There’s so many answers in the dark, but it doesn’t have to be malevolent; it can be a place where Shadow exists [the Jungian Shadow, presumably], and you find… you bring your candle, and you bring your flashlight with you, and you try to find consciousness in the unconscious. I kinda see the darkness as the unconscious; a metaphor. It doesn’t have to be about… again, violent behaviour towards another creature – it doesn’t have to be about harm – and I’ve always sort of seen a different definition of Lucifer, the Light-bringer, as… it’s a tough job to hold, but a consciousness that holds all of that – of Humanity – that we don’t collect into ourselves, the sides of ourselves that we don’t claim; the things we do, how we manipulate, that we kind of lie to ourselves. Because, you know, nobody wants to really think – most people anyway that are sort of walking my line, that I am going to intentionally belittle somebody but it's sometimes from friends... it’s sometimes the people we pull into our circle, [when] they don’t say “God, you did a great job today", or "Congratulations or I support you or those things”. [Instead] they leave you with very little, so you start to crave… and you’re attracted to their acceptance, approval, support… that they Just-Never-Give-You, and the way they keep you there is by withholding it. And so in ‘Ophelia’ [a track from the new album] which is the classic song, it's like, “Why would you want people like that in your life”?

CAD: So, in a way, seeking approval from those who withhold it most, rather than accepting and embracing the approval that we already have in our lives…?

TA: That’s right – and why aren’t we attracted to people who want to support us and who like us? Instead of being attracted to people who don’t see our light? Thinking, “Oh God, if I can turn this person around, then I must be onto something here…””

CAD: It’s a really good question! Very personally resonant as well as a musician… But on the other side of that, I wanted to talk about the single ‘Welcome to England’ which seems to me in some ways to be an ode to your husband, as well as – obviously – about England and estrangement. I wondered whether it’s harder for you to write what you might call “a positive lovesong”, rather than the songs from Boys for Pele, like ‘Putting the Damage On’ or ‘Hey Jupiter’?

TA: Well, I think…… to be positive about a man, and yet ambivalent about a place, was the desired goal for ‘Welcome to England’, because I really wanted the story to be about a woman who left her life, and her family, and her job, to follow her love – to follow her heart. It could be leaving North Carolina to move to New York – it could be anything – or leaving Manchester to come to London. Then you come to realize that His world is becoming Your world, and yet maybe you’ve taken on so much of His world… but it isn’t Your world, and you have to retain yourself in it. And she just lost that. Somehow. She lost parts of herself – whether she should have gone back more, or whether she… you know, sometimes when you leave a place, you cut those cords, and you think “Okay, fresh start – roll my sleeves up…” and yet… there was something, or maybe many things, that you didn’t really want to leave behind. That you do begin to miss. Sometimes it’s the mountains. Sometimes it’s the earth. And I think that ultimately – in this story she’s an American, and Yes, the parallels are very close – but it could be… I know so many people who’ve left, especially in the last 2 years because of jobs, and getting work. One of them had work [that was] going somewhere, that they'd had to leave. One of them has had to let go to move with the other, and so, “how to not lose yourself, when you don’t fit into your lover’s world” [is the message] – maybe that’s a good thing, because I don't think you necessarily should.

CAD: There seems to be a lot of songs on the record about this idea of Giving – this almost quasi-vampiric relationship, maybe. Especially in the first song, ‘Give'...

TA: Yes...

CAD: ...And all the mothers 'giving' on the record too... and so I wondered if maybe you saw your songs in that way? There were a lot of songs on this record that strongly suggested this idea of “giving” through the songs, and using them as a way to connect to people, and as a way to love. I can’t remember the exact lines, but you say something like: “some people give blood / I give love”. Could you elaborate on that idea?

TA: Well, I guess it’s the polar opposite of the vampire concept, where you don’t need to take from somebody, but… there’s a fine line in giving, and… being a watercolour that just runs off a canvas, where you give… so much that you don’t allow people to give back. Sometimes, there’s a fear of Receiving, because… that’s a strange place to put yourself in, but I’ve seen this and walked into this at different points in my life, where I’ve said “I don’t need anything from anybody”, then when you do receive something from somebody, it’s a lovely gift… but in being the only giver sometimes, you take away the other person’s opportunity to want to offer something up of themselves as well; and so, there’s a fine line. How far do you take this? There’s a danger element to it, like anything that can be taken too far. But I think that it was a really sexy idea, I thought, that to survive a time now [when] nothing’s abundant, everything is bleak, everybody’s pennypinching, that the way to survive destruction is to “out-create” it, so I think the idea was when everybody wants to take, “No, don’t don't try to take – you give”.

CAD: So, it’s about trying to reverse the order of things? To me, hearing you talk about that, it’s a very nice link on to the other idea that runs so strongly throughout the new album, of Motherhood - especially on ‘Maybe California’. How has motherhood has impacted not only your relationship with music, but also your life, and your "job" as a musician and a creator. How has that changed?

TA: I think as Tash gets older – she’s 8 now – she’s got to a place where she has her own ideas, and they’re very exciting and independent of mine and her Dad's. She’s in a new phase now, and I’m having to grow with it. I think… because she’s more independent, I’ve been able to give more attention to The Art, in the last few years. And so, I’m changed forever, being a Mom, because I think – my body changed, first of all, and I could see what a woman’s body can do… and when I was at my biggest, I think I was most freed of all those demons – there were so many! They just got kicked out of my being… maybe with her feet! [both laugh] Even though she was a Caesarean birth, for medical reasons… I believe that… by accepting my physicality, that was a huge shift… for me, as a Creator, and as a Woman, and there’s more of a… a sensuality I think in some ways, to the work… that is there, where[as] the work prior to Tash, has other elements that you can only have before you’ve carried life… I can’t… I don’t know that consciousness anymore, because once your body takes on another person, you can’t be a maiden anymore.

CAD: There is no going back is there?

TA: There’s no going back. You can’t know that emptiness anymore – and I don’t mean “emptiness” as a negative, I mean: you’ve been filled with another creature, and so… always & forever, that cord is real, and it’s pulling at you, and your consciousness shifts. The question is: how do you walk the line of Mother and Woman… independent of Mother, and that’s a challenge because I think some mothers, they can look back, and as much as they love their children… there’s something very sensual when your body’s your own.

CAD: Something that seemed to come through in the story of ‘Maybe California’ is this tension about a woman being driven to such a point where she wants to leave her children, she wants to leave the world, even... and the responsibility of the damage she could do if she did chose to take that route, and [so] the question of 'Giving' comes up again.

TA: It keeps coming up... I mean.. there’s a selfishness, and there’s a battle of selfishness, and a battle between… not selflessness… but the question of “what is self”. If you’re a Mother-Creator, then self has to include the Other. “Mother” includes the word “Other”, and… I don’t think I really realized that until recently. I mean it’s staring at us in the face. Whereas “Woman”… the word “Man” is included – and “Wo” is included… [unclear whether Tori means “Woe” or “Whoa” here...] it’s a different kind of Other. I think “Mother” can embrace what it took to get her there, which is sexuality.

CAD:...which is quite a radical way of thinking – this idea of sexualizing the mother, or even being a sexualized woman after you’ve given birth, or whilst you’re pregnant even, is taboo, isn’t it?

TA: It is taboo. And I think, with the new record, and the artwork, it’s very much about the idea of erotic spirituality. You know, I think when we were creating the photographs, they were being created while the music was playing, and the conversation… was very much with an Other, and the songs themselves, and what was behind that… and I think… sometimes as Mothers, you’re kind of amputated from the idea of the “Erotic”. Because, just the idea that “that woman that is holding that whip” [say], the idea that in two hours that woman can be sitting down, at a Haagen-Dazs, or (Tasha’s favourite) is Gladstone’s in the States, where they make the little ice-cream. But, the truth of the matter is that it depends on the temple – the temple of the Holy Spirit – and inside of that whip, and what's on the other side of that whip because that’s really metaphorical. To me, the pictures – the handcuffs, the whip – it’s very much about a mental-emotional conversation with… herself, or with this… Lover.

CAD: So, it’s saying that we must tend to ourselves as Women in order to be good mothers, to retain our integrity?

TA: You have to do both - there’s a balance. It really is about a balance, and when you let the woman go, then sometimes you find as the children are growing up, that we go back to ‘Welcome to England’ [the song] – you're that woman again – who, if you don’t give to yourself, but you are giving to everybody else, that you turn around, and you recognize but "I have nobody to give to anymore, and I haven't nurtured myself while I've been nurturing everybody else".

Abnormally Attracted to Sin is out now on Island Records. The deluxe edition of the album features a bonus DVD containing 16 “visualettes” directed by Christian Lamb.

Go to blogs.myspace.com/catherineAD to read the full length interview transcript between Tori and Catherine.

Tori Amos has just confirmed her UK tour dates for September 2009, including: 6th Sept Manchester Apollo, 7th Sept Birmingham Symphony Hall, Sept 8th Glasgow Royal Concert Hall and London HMV Hammersmith Apollo on September 10th.

Catherine AD will play Latitude Festival on the Nick Cave day (Sunday 19th June) and is performing at a special CRISIS gig this Monday 25th May with David Gilmour and Amadou & Mariam.

Fonte: @forumz e Drowned In Sound
Em breve, a tradução completa da entrevista.

NY Post: "Under The Influence"

By LARRY GETLEN
Posted: 1:32 am
May 17, 2009

Tori Amos sings of suicidal strangers

IT’S no surprise that Tori Amos would title her new CD, out Tuesday, “Abnormally Attracted to Sin.” While not one to shock solely for shock’s sake, Amos has always been emotionally provocative in her willingness to bare her soul, from 1991’s “Me and a Gun,” which recounted her real-life rape, to songs on 1998’s “From the Choirgirl Hotel” that dealt with her miscarriages. Amos called The Post from London to discuss the new CD.

You offered a free download of “Maybe California” as a “Mother’s Day gift.” What’s the tie-in?

The song came out of the story of a mom who thought that if she took herself out of the picture, then maybe it could all move on. She was willing to make that sacrifice. It touched me in a very deep way. It’s not the only time I heard these kinds of crazy thoughts — that if I take myself out of the equation, they’ll have to give him a job because he’ll be the only parent left, and it’ll all be OK. But it won’t be, because you’ll be gone.

So this was a mother who had contemplated killing herself, and told you about how she changed her mind?

She was contemplating it — in the midst of it.

Someone you know personally?

People come up to me. I don’t know them. They tell me their stories.

Did you keep in touch?

I never saw her again.

Why did you choose “Abnormally Attracted to Sin” as the album title?

I’m fascinated by people’s definitions of sin. Sometimes I think the greatest sin is intolerance of other people’s choices. There isn’t the compassion and openness you think there would be in a spiritual belief system. I was aware, as a minister’s daughter, what the title would evoke, and that sometimes women are torn between their spiritual side and their sexual side.

Were your parents super-strict?

My dad was. But that was a time when some fathers were very controlling because they were coming out of World War II, and the idea of the Church was that a woman gives her soul to God and her body to her husband. I’ve never agreed with that nonsense. I’ve been encouraging my daughter about sovereignty — the idea that she is her own person, and has her own choices to make.

Fonte: Undented.com e New York Post
Em breve, a tradução completa da entrevista.

Something for the Weekend

No dia 24 de maio o programa Something for the Weekend da BBC terá Tori Amos como convidada. Fiquem ligados pois durante a semana, vídeos do programa são exibidos via internet.

Fonte: Undented.com e BBC

Art Rock Poster

Comprando a edição limitada do Abnormally Attracted To Sin nas lojas listadas abaixo, você recebrá o Art Rock Poster (imagem).

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Fonte: MySpace

Sinful Attraction Tour

Mais um show na Europa:

09/06/09 Manchester, UK Manchester Apollo
09/07/09 Birmingham, UK Birmingham Symphony Hal
09/08/09 Glasgow, UK Royal Concert Hall
09/10/09 London, UK Hammersmith Apollo
17/09/09 Amsterdam, Holland Heineken Music Hall
20/09/09 Copenhagen, Denmark Royal Opera House (new!)
25/09/09 Vienna, Austria Stadthalle
03/10/09 Paris, France Palais des Congrès de Paris

Fonte: ToriAmos.com

Spinner: "Tori responde perguntas feitas por fãs!"

Fonte: Undented.com e Spinner

London Paper: "A kooky quickie with Tori Amos"

Q&A: Marriage, musicals and being a minister’s daughter
by: Malcolm Mackenzie
18 May 2009

Is Abnormally Attracted To Sin special ­because it’s your tenth album?

Yes – double numbers is good! I like to think of it as a classic car. We get in a routine, so when you’re on your fourth, fifth, sixth record, you’re kind of like on your 2003 Saab, but in 2020 that little Saab might be quite something.

Did you imagine you would get this far?

Well, I was at the dentist in America a few weeks ago and my hygienist said, “Do you just pinch yourself sometimes?” I looked at her and said, “No, because there is so much you have to do in order to stay.” The staying is much harder than the getting there. Like, it’s easier to seduce a man who has never experienced that moment than one who knows it inside out.

So, what sins are you abnormally ­attracted to?

I’m rather fascinated by how a woman can be drawn to a man who really treats her badly. I know men are fascinated by this, they tell me all the time.

Do you have those relationships?

Not any more. It took a while for me. Sometimes it’s even people you’re working with – but you kind of suss out which ones are the baby demons.

Is your husband ­different to the men you dated growing up?

He is very dangerous, but not in an abusive way. He is a loner, independent. You have to be OK with that. You can’t be needy with a loner if they’re off on their motorbike.

Do you need space, too?

I don’t need it like that. I can take my space in a group of people. How do you think you perform to thousands? You can have an intimate show because you can be alone with each one of the 4,000.

Did you move to Cornwall to get away from your fans – because they are quite devoted?

No, maybe that’s a bit of husband psychology. I think he likes to get away from the world. He doesn’t seek the red carpet. Not that I do, but he’s more the one who likes to hang in the pub.

Being a minister’s daughter, do you relate to Kings of Leon, whose dad’s a preacher?

Yes, there’s something about growing up in the church that gives you fire and music. I questioned the way teaching was interpreted and applied to other people, applied to lifestyles, and I just can’t understand why the compassion of Christ will embrace people who might abuse their daughters and, goddammit, not two consenting women who want to sleep together. I am just lost.

Do you feel guilt at the back of your mind? Caleb from Kings of ­Leon told me he does.

No, I don’t feel guilt. How old is he? [He’s 27] This is the difference when you’re a mid-20s minister’s kid and when you’re 45: you’ve slept with the devil more than once and you don’t have guilt because you understand the concept of Lucifer and damnation. What damnation, from whom? I’m more worried about the Earth deciding to kick us all off.

Is your musical at the National Theatre still happening?

Yes. It’s called The Light Princess. I’m doing the songs. [National artistic director] Nicholas Hytner is giving me some good tips. He said it’s a “glorious nightmare” – we wrote a musical that would last four days.

Your gigs are sold out, so why haven’t you had a hit here in a decade?

This isn’t really my big market. The States is my bread and butter. I don’t live here for my ego.

Abnormally Attracted to Sin is out now

Fonte: Undented.com e London Paper
Em breve, a tradução completa da entrevista.

Huffington Post: "New Tunes On Monday: Green Day, Eric Clapton & Steve Winwood, Tori Amos, Kate Voegele, and Mat Kearney"

by: Mike Ragogna
music biz vet, entertainment writer
Posted: May 18, 2009 01:11 AM

Tori Amos -- Abnormally Attracted To Sin

This ol' pro had us at "Crucify," "Silent All These Years," and "Cornflake Girl." Though Tori Amos' career may have suffered from being overly prolific and recording some questionable cover songs, every new album is a bouquet of interesting, intelligent songs for her loyal fans. Abnormally Attracted To Sin delivers just what the title implies, sex and religion -- make that sexy religion -- in biblical proportions. The wordy "Mary Jane" alone needs its own gospel to interpret its strange rhymes and elongated verbiage. On the other hand, "Welcome To England" sutures a concise vocabulary to an artsy, Kate Bush-style melody. Speaking of Bush, check out "Fire To Your Plain" and "That Guy" for more of that vibe, try "Maybe California" for some beautifully orchestrated heartbreak, "500 Miles" for a semi-folky anthem, and the closing track for a sultry, after hours come-hithering: "Boys play well into the night, 'Can I join you?' said the lady in blue." Tracks to forgive but respect for their ambitiousness are "Give" that trips over it own clunky, chunky synth, and the dissonant "Strong Black Vine" that musically wraps around itself like an Escher graphic. As a whole, the album will work best for those abnormally attracted to Amos, while others can cherry-pick its tempered decadence for a handful of guiltless pleasures.

Tracks:
1. Give
2. Welcome to England
3. Strong Black Vine
4. Flavor
5. Not Dying Today
6. Maybe California
7. Curtain Call
8. Fire to Your Plain
9. Police Me
10. That Guy
11. Abnormally Attracted To Sin
12. 500 Miles
13. Mary Jane
14. Starling
15. Fast Horse
16. Ophelia
17. Lady In Blue

Fonte: Undented.com e Huffington Post
Em breve, a tradução completa da entrevista.

Last.fm: "'Strong Black Vine' Interview"

Fonte: Last.fm

masslive.com: "Playback by Kevin O'Hare"

Tori Amos, "Abnormally Attracted to Sin" (Universal Republic). 2.5 stars.

By this point you're either a fan of Tori Amos' atmospheric brand of mystical songwriting or you pressed the pause button a long, long time ago.

There's simply not a lot new going on with the red-haired pianist, and most of the songs on "Abnormally Attracted to Sin" could have fit onto practically anything else she's released during the past 15 years.

She's still filling a void that was left by Kate Bush's apparent retirement from the music industry ages ago, though Amos has rarely matched the depth of Bush's songwriting or the intricacy of her arrangements. Yet she has her moments, like on the uncharacteristically feisty and borderline-playful "Not Dying Today," or the colorful "That Guy" which has a bit of a modern-day Billie Holiday aspect to it.

Deluxe editions of "Abnormally Attracted to Sin" are accompanied by a DVD featuring "visualettes" (didn't those used to be called videos?) for each track. That sort of thing can indeed help make sense of Amos' work which is often on the convoluted side, to put it kindly.

Fonte: Undented.com e masslive.com
Em breve, a tradução completa da entrevista.

Evening Standard: "CDs of the week"

Tori Amos
Abnormally Attracted to Sin (Island)
***

Tori Amos's uncompromising debut, Little Earthquakes, paved the way for the female singer-songwriter movement of the Nineties. Seventeen years, nine albums and a happy marriage later, she's unable to conjure quite the same vitriol for Abnormally Attracted to Sin — but it does have a dark magic of its own.
Weighing in at a hefty 18 tracks, the album carries a certain amount of excess fat — particularly in a second half made up of earnest piano ballads such as Starling and Lady in Blue. The sweeping beauty of Welcome to England is more successful, while the stomping Strong Black Vine proves that, when she puts her mind to it, she can still make the earth move.
Rick Pearson

Fonte: Undented.com e Evening Standard
Em breve, a tradução completa da entrevista.

Rolling Stone 18/05/09

Tori Amos Abnormally Attracted to Sin Universal Republic

Singer reassembles herself with a plodding set of ballads

After splitting into five different personalities for 2007’s American Doll Posse, Tori Amos pulls herself together again on her latest. The result is a set of prog-inspired balladry with less bounce than her last disc. The plodding “Strong Black Vine” has Amos saving folks from “that evil faith” over strings straight out of Zeppelin’s “Kashmir,” and “Police Me” is a multitracked mess of percussion, orchestration and New Wave synth lines. Among the standouts: the ballad “Maybe California,” a tender show of empathy for a mother about to throw herself off a cliff.

MARK KEMP

Fonte: Undented.com
Em breve, a tradução completa da entrevista.

Orbital Ball: [Dwl] FM4 Radio Sessions

Clique AQUI para fazer o download.

Fonte: Orbital Ball

Herald.ie: "The Tori Details"

With her new album out tomorrow, the ever-expressive Tori Amos talks to EAMON CARR about Kinsale, lizards, touring with children and how to survive the global recession.

By Eamon Carr

Thursday May 14 2009

As imaginatively extravagant as ever, Tori Amos didn't skimp when creating her new album, Abnormally Attracted To Sin. Eighteen new songs ("It is a double album"), as emotionally intense as the hits which established her as a serious talent, presents listeners with an experience that's as thrilling as it is challenging.

"I was investigating the idea of power," explains Tori, now 45. "How we think and how you can reclaim the right to think for yourself. World changes have affected everybody in different ways. Lives are being turned upside down. People that you know are getting fired. People are moving. Friends are being torn apart,having to go where they can get work."

I'm thinking the new album is more personal than simply worrying about the recession. And I'm right.

"It's almost as if time is speeding up and so many events happen so quickly," says Tori. "In the last year and a half, I've made a lot of changes in my life in all kinds of ways. So I was investigating the idea of power and if you define power as having a job and being a provider and having all those things, then there are a lot of people out there who aren't feeling very comfortable right now."

Yes... and...?

"Or if you define power as somebody who can abuse their authority and have power over people and put them through hell, well I don't think they're very powerful but they can create a lot of damage," states Tori with her mix of defiance and charm. "The record is investigating who we are attracted to and what we attract in our lives. And how do we survive some of these, er... little earthquakes," says Tori, citing one of her best known records.

Sexual politics and the abuse of power have long been the main engines of Tori's explorations.

From her debut single Me And A Gun, in which she dealt magnificently with her rape trauma, to Playboy Mommy, prompted by repeated miscarriages, Tori Amos has continually turned the base metal of psychic and physical distress into visionary artistic redemption.

With Irish blood on her father's side, this red-haired woman inherits an added tenacity and integrity from her mother's Cherokee roots. An interest in shamanic belief systems can be detected in her music to date.

Born in North Carolina, Tori grew up in a devout Christian home where her father was a Methodist minister. When she was 13, she cut loose, playing local bars and moved to Los Angeles when she was 21. Rock'n'roll had won her soul.

The great powerhouse of nature, and rock'n'roll, is sex, of course. Which brings me back to Tori's new album. "I wanted to look at how you can uncover what you believe in as a spiritual, sexual creature," she says. "You don't need the approval of your family, or of their religion. You can think, 'Wait a minute, I'm a spiritual being. Just because I like gold handcuffs doesn't mean I'm not a spiritual being.'"

After years of disappointment, Tori eventually gave birth to a daughter. Natashya Lórien will be nine in September.

"She's going to be on her fifth world tour," says mum proudly. "I learn a lot from her. She was 12 months and three weeks when she began her first tour. We went out a couple of weeks later on the Strange Little Girls tour. She was a baby. She's grown up around it."

Married to British sound engineer Mark Hawley, Tori had been living in Cornwall. I take it she's very much part of the community these days?

"It might seem that way, but I'm an American," she declares. "I wrote the album in the States. Cornwall is my husband's house. The studio is his. He lets me crash there, because he thinks I'm cute.

"I have a beautiful beach house two hours north of Miami. I like the lizards. I like it hot. My family is all east coast. My parents have run my publishing out of Florida for the last 20 years."

And what about her place in Ireland? "I still have the Georgian house in Kinsale," she says. "I bought it in '95. And restored it. I had to pay in cash because no mortgage person was going to support that. The place was imploding but it should last for another couple of hundred years, so that's good. I feel like I've done a good thing for Ireland."

Tori shares one other revelation: "My dad has started writing poetry. Being a preacher, he's a natural storyteller. There's an evolution there." Being in their 80s, no doubt her parents have interesting stories to tell. "That's such a good point. They talk about the Great Depression. They are not in a state of paralysis. They're saying, 'Chop wood, carry water. There are ways to survive this.' You have to be a survivor not victimise through turbulent times."

Which is precisely the advice the resolute Tori Amos shares in her songs. HQ

Abnormally Addicted To Sin is released tomorrow on Island Records

- Eamon Carr

Fonte: Undented.com e Herald.ie
Em breve, a tradução completa da entrevista.

allmusic.com: "Review"

After the high conceptualism that lorded over 2005's The Beekeeper and 2007's American Doll Posse, singer and songwriter Tori Amos has decided to return to the relatively simple songs-as-songs approach on Abnormally Attracted to Sin. Those recordings, fine though they may have been, stretched the artist's reputation and the patience of her fans to the breaking point; based on her record sales, she whittled them down to simply the Tori cult (not a derogatory term, since many of her fans are proud to refer to themselves that way). The scope of this set in comparison with the previous two offerings seems more like a retrenchment than anything else. Not that there's anything at all wrong with that. There are songs on Abnormally Attracted to Sin that are as strong as anything she's written. Certainly the opener "Give," with its trip-hop rhythmic landscape and shifting backing vocals, slippery synth bass, and acoustic piano is beautifully constructed with a melody line that glides along a minor-key slant with a Middle Eastern tinge, and its lyric is both poignant and provocative. But then there is the single, "Welcome to England," whose 4/4 loop, drifting piano, and blend of guitars (electric and acoustic), strings, and ambient sounds is rudimentary Amos at best, and boring at worst. The refrain creates a bit of a hook, at least enough to catch the ear, but that's all. "Strong Black Vine," with its echoes of Led Zeppelin's "Kashmir" in the intro, tosses Amos back into her Jerry Lee Lewis dilemma: she loves and hates religious faith, and is both ensnared by it and saved by it. It's a rocker as far as her songs go, and works beautifully. "Maybe California" is a simple, straightforward modern pop ballad. It's beautifully composed and delivered. The track listing goes on, and on, and on, and on. And if there is a problem with Abnormally Attracted to Sin, this is it: it's 73 minutes long. At the dawn of the CD era, it made sense on some level to be this "generous" with listeners. But for any artist to sustain the kind of consistency necessary to keep a listener's attention for this length of time is extraordinary. By the album's second half, one has to play and replay certain tracks because they seem to go by in a blur. And to be honest, this set would have fared better for some real pruning. Whereas cuts like "Fire to Your Plain," with its country overtones and in-the-gut melody fare quite well here, another country-ish experiment, "Not Dyin' Today," could have been deleted because it feels like a tossed off idea more than a fully realized one. The title track is an eerie abstract exercise in ambience and atmospherics and its fragmented (and provocative) lyric is the perfect strategy to anchor it without losing its dreaminess. "500 Miles" (not the Proclaimers song) has a beautiful lyric, but musically it feels lifeless and lazy. The faux cabaret of "That Guy" feels like it updates Brecht and Weill in the 21st century, just as the jazzy intimacy of "Mary Jane" does the Parisian Saravah jazz scene of the late 50s and early '60s. What it all boils down to is, well, boiling it down. Amos doesn't record as much as most artists, and it must be tempting to give fans everything she can, but in this case, it's hurt her a bit. Still there, are many tracks here worth adding to one's Amos shelf.

Fonte: Undented.com e allmusic.com
Em breve, a tradução completa da entrevista.

Times Online: "Tori Amos: Abnormally Attracted to Sin"

Dan Cairns

Her oft-stated contention that much of her music emerges, unbidden, from the ether, and that she is no more than a conduit, gives Tori Amos a get-out clause. Being an artist who is vehicular, rather than imposing her own will on the albums she releases, allows the Cornwall-based American a freedom to roam (and indulge herself) that the rigour of creative striving — which plenty of songwriters seem to put up with — might, she implies, curtail. Her 10th studio album, all 18 tracks of it, cries out for a firm editorial hand, for someone to take Amos aside and say: “Look, love, why don’t we try making a record without the ether for once?” Shapeless, piano-led disquisitions on sin, sex and war lack any of the shape and sharpness her best songs had; instead, they meander aimlessly, pointlessly. That’s the ether for you: no discipline.

Island 2704664

Fonte: Undented.com e Times Online
Em breve, a tradução completa da entrevista.

EW.com: "Abnormally Attracted to Sin (2009)"

B by Melissa Maerz

What would Jesus do? As Tori Amos sees it, probably something dirty. Exploring themes of religious and carnal power on Abnormally Attracted to Sin, she's heavy-breathing about blood and wine and saints and getting down on her knees (for nonsaintly reasons), likely setting the librarians in some university's human-sexuality archives all atwitter. Sometimes her brains get a little too big for her Bible: On "Mary Jane," she fails to find a rhyme for "tetrahydrocannabinol pure isomer dronabinol." But when she's banging on her piano over layers of lush electronics, she's got the rapture part down. B

Fonte: Undented.com e Entertainment Weekly
Em breve, a tradução completa da entrevista.

Scans: Abnormally Attracted To Sin (Deluxe Edition)

Fonte: The Afterglow

deredactie.be: "Tori Amos: 'Goed is niet goed genoeg'"

Tori Amos heeft haar nieuwe album voorgesteld aan de pers. "Abnormally attracted to sin" is het tiende studioalbum van de Amerikaanse zangeres en pianiste. De schijf ligt intussen in de winkelrekken.

"De rode loper" haalde Tori Amos voor de camera en peilde naar de invloed van de zeven hoofdzonden op de zangeres. De eigenzinnige artieste beantwoordde de vragen met plezier.

"Ik denk dat ik streef naar perfectie. Waarom genoegen nemen met "goed" ? Goed is niet goed genoeg. Geweldig is stukken beter", zei Tori Amos.

De muzikanten blijft steevast haar eigen weg gaan. "Als ik het voor het geld deed, zou ik andere keuzes maken. Dan had ik voor dit album geen strikt budget moeten in de gaten houden."

Tori Amos is getrouwd met de Engelse muziekproducer Mark Hawley, met wie ze een kind heeft, de 8-jarige Natashya. "Sinds ik moeder ben geworden, ben ik in staat om alle schaamtegevoelens te laten vallen", besluit Amos.

Clique AQUI para assistir o vídeo da entrevista com Tori Amos.
Fonte: Undented.com e deredactie.be

Independent.ie: "Q&A: Tori Amos"

By Ed Power

Friday May 15 2009

On Barack, bust ups and taking it easy

You've described your new album, Abnormally Attracted to Sin as 'audio mescaline'. It's certainly a change from your last record, American Doll Posse, which was an old-fashioned, pedal-to-the-floor rocker in places.

We're in a different world from where we were with the last album. When I was making American Doll Posse we were still in the Bush regime. I started Abnormally Attracted to Sin on the road, before Obama had really even taken hold. There was an excitement for change in the air. And then, at the end of last year, everything crashed. There seemed to be a state of paralysis. Songs have been coming out of how to survive these turbulent times.

One of the album's themes is the relationship between women and power -- as a wealthy, successful musician, it's a subject I'd imagine you are uniquely positioned to comment upon. So is fame a gift or a burden?

I see myself as a female composer first. I chose to temper fame. It's a very dangerous mischief. I do flirt with it, but I think I have a real grounded life. Being a mom has anchored me in a really deep way and I'm a hands-on kind of mom.

On the subject of upheaval, you've been through an eventful time career-wise, having left SonyBMG and entered into a licensing deal with Universal. Was it a bitter falling out?

Coming out of the whole Sony experience, I didn't want to have anything like that again. It's that old structure where there doesn't seem to be any exchange between the creative side and the fiscal side. No understanding of how it really has to work as a unit. You have to work together instead of one side trying to get one over on the other, which never works in the end. I'd had enough of that.

So you hooked up with an old mentor, Doug Morris, at Universal.

I said to him 'I'll give you golden eggs -- but let the goose fly. Don't start getting me in a fucking pot of boiling water. I'm going to go mad'. And he laughed. We did a joint venture deal which means if there are any profits we both kind of win and if there aren't any, then we both kind of put in. You invest all the money in yourself anyway and get a tiny percent back, so why not be conscious of what you are doing?

To change subjects slightly -- okay radically -- is it true that Ophelia, on the new record, is inspired by young women with a history of self-harm approaching you after concerts?

Yes. A lot of those woman have been coming to the shows on and off for years. I think it's so complicated, because they are trying to find some control and if they can control their own pain then sometimes that is the only control they feel they have in their lives. I think the song is really looking into the fact that there have to be other ways instead of harming yourself to find that control.

'Abnormally Attracted To Sin' is a line from Guys and Dolls. I hadn't put you down as a fan of corn-ball musicals.

I saw it recently and I thought, 'As a minister's daughter I know just what to do with the phrase'. You see, this is a time when women are choosing to be in relationships with abusive men, but in the west you have other choices. We have to redefine for the woman that this is not a powerful man. He is small on every level.

Tell us about your relationship with Ireland. You've recorded here and name-checked various places in song.

I still have a house in Kinsale where I can find my solace again. I go there, if we're honest, to regenerate and recharge. I shut the world out and reclaim myself. It's the private hideaway.

Ever sneak out for a few pints?

I have my haunts, my favourite restaurants. They know me at Jim Edward's down in Kinsale. I call up, or someone calls for me, and asks, 'can you get a table? Tori will be there tomorrow night'. And they always manage to have a table for me.

Abnormally Attracted To Sin is released today

- Ed Power

Fonte: Undented.com e Independent
Em breve, a tradução completa da entrevista.

Welcome to England: #17 (Billboard)

O single de Welcome to England estreou semana passada na #29 posição; esta semana o single já alcançou a #17 posição. Vamos torcer para que Welcome to England fique em primeiro lugar logo!

Fonte: Undented.com e Billboard

BlackBook.com: "Our Favorite New ‘Sin’: Tori Amos Talks Trouble Of All Stripes"

Our Favorite New ‘Sin’: Tori Amos Talks Trouble Of All Stripes
By
Eiseley Tauginas
May 15, 2009

On her 10th studio outing, Abnormally Attracted to Sin, Tori Amos went out on a limb. Or three. She took it back to fundamentals by reconnecting with her life-long mentor, Doug Morris of Atlantic Records. She found a new approach to songwriting by pairing with filmmaker Christian Lamb, using his montages of life on the road before writing her piano and orchestra-fueled tracks for the album. And she incorporated the simultaneous existence of being both a full-time touring artist and a mother with a growing, eight year-old child. While meeting with Amos during a stop-off in New York earlier this year, the petite, soft-spoken siren was every bit as endearing and articulate as we’d hoped, helping us navigate our way through her new album while passing on a little sage life advice as well.

You reconnected with Doug Morris, your mentor at Atlantic, rather coincidentally, when you heard someone on the phone with him in an LA restaurant. Was this event what propelled the record? Doug has been the only mentor that I’ve ever had. That went away for a while, and we hadn’t spoken a word in 14 years. Just because life changes. After I saw him that day in LA, this whole wealth of the material flood-gates started to open. Maybe it’s because when you’re working with somebody that believes in what you do, you can cross into another dimension of creativity.

And then? I was ready to start making a very different kind of work. I had been working with film director Christian Lamb, who was making montages out on the road with me, and I always thought that they would go well with a live concert. Eventually, songs started to be written around these montages.

What creative role did you play in these montages, later called Visualettes? It was a creative marriage with Christian. The films weren’t like a still photograph shoot that you might do in one or two days. This was something where we worked together, on and off, for a year and a half. We wanted the same thing, and had a similar aesthetic. On ‘Strong Black Vine,’ we really wanted to cover the idea of intolerance in religion. We filmed in New Orleans for a portion, and he found methods of pulling it in all kinds of ways to make this vision complete.

Certain songs on the album reference California, and you spent a great deal of time there before the album Little Earthquakes. How’d you feel about being back? I think what’s pivotal for this conversation is knowing that when I wrote Little Earthquakes, I was at the bottom of the food chain in LA and really struggling. When I was there working on this album, I was looking at my life, and realized so much time has passed from when I was writing that first record there. The world has changed. When you think of the presidents that we’ve had, and the wars that we’ve been through, and our innocence at that time. I was recognizing certain things that I don’t have to deal with anymore. Then there are also things that I do have to deal with now that I couldn’t have even conceived of then.

And the song, “Maybe California”? In that song, I was investigating the idea of a mother wanting to kill herself, and as we filmed it, I think that we knew that we were doing something and talking about something that doesn’t get a lot of attention. It seems as if there’s a lot of media exposure to self-destruction when you’re a certain age, but when you’re supposedly responsible, it’s almost as if you’re not allowed to have those feelings. I wanted that song to be something that other women could really relate to that might have those feelings in silence.

Another theme of the album is having control. Are you at a point where you’re exerting authority, or are you stepping back? I’m trying to be very clear about what I define as powerful, and what I’m attracted to. Even though we’re in the 21st Century, there are a lot of women who choose to be in violent relationships, or just in a relationship where you’re not respected or treated well. The song, “Ophelia,” is exploring when a women doesn’t feel powerful within herself. Songs such as, “Strong Black Vine” and “Police Me,” are about where she feels really powerful; enough to take on a government, much less a guy. And “Curtain Call,” is really exploring how you value what you do, opposed to, maybe, how the outside world values what you do. And we go back to the idea of valuing yourself, the idea of valuing your choice of sexuality and spirituality in a relationship. The question that I think it raises is, ‘When are you in control, and still in a mutually powerful place?’, or ‘When are you being subjugated?’

How have your views on religion changed as your daughter gets older? It’s more about spirituality, than the institution of religion. I’ve found, over many years, that the institutions themselves, lack compassionate actions. There’s a lot of judgment going on, and shame, in order to get other people to be a certain way, and we go back to this idea of tolerance. Tash, [my daughter], is pretty focused on the difference between ‘Jesus loves the little children’, and the institution itself. She travels a lot, so she gets exposed to different cultures, and her belief seems to be growing and blossoming. Even at 8, she’s really able to distinguish the difference of patriarchal rule from the love of Jesus. I’m fascinated to see that in her.

Her exposure to music is much different than yours as a child, as you would sneak listening to music when your pastor father was away. Is music still is this secret escape for you? It absolutely is. It’s how I deal with most things in life. Music is a world. I can be sitting in a room, dealing with this red-tape stuff that we all have to deal with, and another dimension opens, and I haven’t left the room, and music just comes as things that I’ve never heard before, or things from the past that almost open up my perspective. God, you can get really trapped in life, and different things take you out of it. You can take a little pill, you can have a little drink, but to me, that doesn’t solve the problem. That just postpones it. You can shop, you can have an affair—because that will distract you—but that doesn’t solve it. For me, it’s creating something, so that you have a different perspective, and you don’t feel victimized by a situation.

You previewed some of the songs from the new album at South By Southwest for the first time. What was that like? I was alone at the piano, and I figured there was only so much I could do. In some ways [this album] reminds me of From The Choir Girl Hotel, which was also ambitious on the production side. Playing this album alone at the piano is challenging, because if you’ve never heard the record, there’s no way that you’re going to get a good view of it. I just said, ‘Well, you just need to give a storming woman-alone show.’

What general advice would you give to young women? What a difference a day makes, because change can happen rapidly, but not just one way, it doesn’t all have to be negative. You can have two people who get the same negative, rough news, and yet, one is able to sail through it, and the other is drowning. If you can just hang in there, and not react, and take yourself out of the equation—Sometimes I step out of a situation and see it from a detached perspective, so it’s not happening to me anymore. Then you give yourself the room to realize that things can turn around in a day, or a week, just because of who you happen to meet, or run into, and your circumstances.

Anything else? If it’s too loud, turn it up. That usually works.

Fonte: Undented.com e BlackBook
Em breve, a tradução completa da entrevista.

torisecretsite

Antes do Abnormally Attracted To Sin ser lançado nos Estado Unidos, um site intitulado "torisecretsite" disponibilizará um material inédito durante o período de 19 de maio de 2009 a 19 de maio de 2010. Segue o texto publicado no toriphorums:

"This CD unlocks Tori Amos' secret website! Place this CD in your computer to access bonus videos, news and updates from Tori Amos! Just follow the on-screen instructions, it's free!"

Then it goes on to say in fine print that compatible hardware (doesn't say what) and internet access required and Tori Amos bonus area is available ONLY in the US and only from 12:01 am May 19 2009 to May 19 2010.

Fonte: toriphorums

Sinful Attraction Tour

Novas datas são adicionadas na Europa:

09/06/09 Manchester, UK Manchester Apollo (new!)
09/07/09 Birmingham, UK Birmingham Symphony Hall (new!)
09/08/09 Glasgow, UK Royal Concert Hall (new!)
09/10/09 London, UK Hammersmith Apollo (new!)
17/09/09 Amsterdam Heineken Music Hall
25/09/09 Vienna Stadthalle
03/10/09 Paris Palais des Congrès de Paris

Os ingressos estarão disponíveis em breve no site britânico da Ticketmaster (clique AQUI e veja a página oficial de Tori no site).

Fonte: Undented.com e ToriAmos.com

FM4 Radio Session

Clique AQUI para assistir.

Fonte: Undented.com e FM4.ORF.at

RadioEins

Encerrando a temporada de apresentações em rádios alemãs este mês, Tori estará no programa Rock'n'Roll Radio da RadioEins no dia 17 de maio (Domingo). O programa vai ao ar ás 19h até ás 21h (horário da Alemanha | aproximadamente ás 14h - horário de São Paulo). Para ouvi a transmissão clique AQUI.

Fonte: Orbital Ball
EDIT: não esqueçam do FREAKOUT no Orbital Ball!

[Dwl] FM4 Radio Session

Clique AQUI para fazer o download.

Out.com: ''Tori Amos discusses the track 'Fire To Your Plain' from her album Abnormally Attracted To Sin."

Fonte: @forumz e Out.com

Comic Book Tattoo

O Comic Book Tattoo está disponível para compra no site da Livraria Cultura. Clique AQUI e adquira o seu por R$89,60. Segue a resenha do livro:

Over 80 of the creators from every style and genre have contributed over 50 stories to this anthology featuring tales inspired by the songs of multi-platinum recording artist, Tori Amos. Featuring an introduction by Neil Gaiman, with stories by creators such as Carla Speed McNeil, Mark Buckingham, C.B. Cebulski, Nikki Cook, Hope Larson, John Ney Reiber, Ryan Kelly, and many, many others, Comic Book Tattoo encapsulates the breadth, depth, and beauty of modern comics in this coffee table format book.

Fonte: Livraria Cultura
Em breve, a tradução completa da entrevista.

LP33 TV: "Abnormally Attracted To Tori"

Fonte: LP33.tv

In The News: "Tori Amos: Abnormally Attracted to Sin"

Tuesday, 12 May 2009 13:22
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

Fonte: Undented.com e In The News
Em breve, a tradução completa da entrevista.

BBC: "Tori Amos Abnormally Attracted To Sin Review"

"A bit of a meal to get through, with random styles zigzagging about."

Ian Wade 2009-05-12

Her place in pop history is fairly secure: slightly 'kooky', loved and used as intro music by Nirvana; comfortable in both confessional singer-songwriter mode or being sampled and taken down the rave up; her best of collection was one of those 'crikey, I know and enjoy more Tori tuneage than I thought' delights.

After something like 20 years in the business, long term fans know pretty much what to expect from Tori Amos, and for this her tenth album, she doesn't disappoint. More straightforward than the 23-track concept fest of her last album American Doll Posse, but still as beguiling, even a passing Amos observer would find much to enjoy. Abnormally Attracted To Sin is also accompanied with a DVD of 'visualettes', although that sentence will either bring joy or despair depending on where you stand on the Amos.

To be honest, Abnormally Attracted To Sin is a bit of a meal to get through, with random styles zigzagging about, a little editing may have helped it to be more memorable rather than just slightly exhausting, although, to be fair, it does represent good value for your buck even if you may have a couple of points in the 75-odd minutes where you've forgotten it's playing.

Opener Give slinks in Twin Peaks-ily, with the now traditional themes of religious imagery and, well, men creeping in on Strong Black Vine; Welcome To England is Amos-by-numbers; Flavor and Maybe California are archetypal Amos, while the seven-minute soft jazz stylings of Lady In Blue pass by reasonably painlessly.

Perhaps there's just a bit too much on this album, such dilemmas shouldn’t really be much of a problem, but surely the point of making an album such as this, is for it to be heard as it is, and not to be hacked down into more tolerable digestable moments. A shame.

Fonte: Undented.com e BBC
Em breve, a tradução completa da entrevista.

Metrosource Magazine: "Abnormal Growth"

Abnormally Attracted to Sin (Universal Republic)

Following a pair of critically maligned records (2005’s The Beekeeper and 2007’s American Doll Posse), Tori is back in a major way. Her past few releases may have lacked the punch that we’ve come to know, love and obsess over, but Abnormally Attracted to Sin is more than just a breath of fresh air; it’s a positive return to form. Tori has attracted a rabid fan base ever since her debut album (1992’s Little Earthquakes) hit shelves, thanks in part to her raw honesty, vivid storytelling and otherworldly vocal range. Thankfully, that has all returned with Sin. Her strong stances on sexuality, religion and feminism are intertwined beautifully from the start to the finish of this impeccable record. All hail the triumphant return of Ms. Amos!

Fonte: Undented.com e Metrosource Magazine
Em breve, a tradução completa da entrevista.

Sinful Attraction Tour

Aos poucos novos shows são confirmados para Sinful Attraction Tour na Europa. Recentemente o site Info Concert confirmou um show em Paris no dia 03 de outubro no Palais des Congrès de Paris. Para mais informações clique AQUI.

Fonte: Undented.com e Info Concert

SameSame.com.au: "Tori Amos Visualettes - Abnormally Attracted To Sin"

por Christian Taylor

Tori fans around the world are eagerly awaiting the release of her latest album Abnormally Attracted To Sin. To whet your appetites, Tori’s created a series of short films to accompany each track from the album, with the help of director Christian Lamb.

The footage, captured during Amos’ American Doll Posse tour, actually inspired the songs that would become Abnormally Attracted To Sin. In a Same Same exclusive, here they all are in full.

That Guy:


Welcome To England:


Strong Black Vine:


Ophelia:


Fast Horse


Fire To Your Plain


Curtain Call


Not Dying Today


Maybe California


Give


Police Me


Starling


500 Miles:


Flavor:


Lady In Blue:


Abnormally Attracted To Sin:


Fonte: Undented.com e SameSame.com.au (1), (2), (3) e (4)