Tori Amos - Abnormally Attracted to Sin
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Music CD Cover
Artist: Tori AmosEdition: Music CD
Audio: English (Unknown); English (Original Language)
CD Release Date: 2009-05-19
Music Label: Republic
Product features:
- AMOS TORI ABNORMALLY ATTRACTED TO SIN
- GIVE
- WELCOME TO ENGLAND
- STRONG BLACK VINE
- FLAVOR
- NOT DYING TODAY
- MAYBE CALIFORNIA
- CURTAIN CALL
- FIRE TO YOUR PLAIN
- POLICE ME
- THAT GUY
- ABNORMALLY ATTRACTED TO SIN
- 500 MILES
- MARY JANE
- STARLING
- FAST HORSE
- OPHELIA
- LADY IN BLUE
Free Music Notes for Abnormally Attracted to Sin
Free Music Review: Almost A Return To Form
Hit: 5 Stars
With Abnormally Attracted To Sin, Amos' tenth album, Amos continues to explore new ground and a variety of musical styles on this 72 minute epic. With genres ranging from rock to alternative to electronica to jazz, this LP presents a very diverse body of work, as did her previous album, 2007's 'American Doll Posse'. Older fans may be continued to be put off with the fact that she may not wear her heart on her sleeve as much as she used to on albums such as 'Little Earthquakes' or 'Boys For Pele', and is utilising the piano (the instrument that almost defines her public perception) much less. Amos has repeatedly stated that she wishes to separate her public life from her private life, and this is shown by her lyrics frequently being presented in third person. This is also evidenced by her inspiration from a variety of outside influences; such as the 2008 Economic Crisis, or simply from her experiences talking to fans that attend her shows.
The album begins with 'Give', her best opener since `Spark' (from 1998's 'From the Choirgirl Hotel'). It opens with a trip-hop-esque beat before the piano chords kick in, and subsequently Amos' vocals, who exploits the lower end of her vocal range flawlessly. By observing the album's artwork (which is almost reminiscent of a photo shoot), and the album's cover, the record opens exactly what the listener would imagine: A dark, seductive, and slow piece with lyrics such as "There are some give blood, I give love." The bpm rises with the lead single 'Welcome to England', which wouldn't sound out of place on 1999's `To Venus and Back'. The song tells of a person who leaves her place state or country of origin, and all things associated with it, to live with her lover. 'Strong Black Vine' follows, and is related to the influence of Islam has on most Eastern countries. This subject matter is not surprising given the lyrical content of her previous work. It features a string octet, and the instrumentation used, however, is a departure from her previous work, but nevertheless works. 'Flavor' is a slow electronica song which explores similar lyrical themes and can also be likened to `To Venus and Back'. 'Not Dying Today' is significantly more upbeat and positive than the previous tracks, but the corny lyrics and cliché instrumentation makes this track without a doubt the weakest on this record. Happy Phantom, The Wrong Band, Wednesday, and the interludes from some of her previous works demonstrate that she can successfully compose light/fun songs, however on this piece she definitely fails. I'd really like to know what she was thinking. This is followed by a very melancholic ballad `Maybe California', which also makes use of a string octet. This song is almost the polar opposite to the previous piece (like in two contrasting movements for classical pieces), and as such, some have questioned its positioning on the album. I agree with them--the placement doesn't really work. Tori speaks of a mother contemplating suicide, and on its own it is one of her best ballads from the new decade. The players are excellent.
The next third of the album begins with `Curtain Call', where Tori looks back on her musical career, and contains some of her most effective lyrics on the album. It is this track which sounds overall most like her previous work. `Fire To Your Plain' is the next track and reminded me of 2005's `The Beekeeper' but it makes greater use of production techniques and is more synthesised. It is one of her fun/quirky tracks, but unlike 'Not Dying Today', this is a welcome addition on this album. `Police Me' is quite an experimental song with it's polymetric meter and odd lyrics. It seems to be about the implications of technological advances on one's social liberties, but who really knows. The musical that Amos is currently in clearly provided an influence for the next track, `That Guy', which contains elements from theatre with its use of string and lines such as `Will we make up? Will we break up?' combined with Amos' vocal stylings. The piece crescendos until the very end, and again breaks new ground for the artist. The title track follows, and the production is up there with Amos' best (note that she has been producing her albums herself since her 1996 masterpiece `Boys For Pele'). The song also explores the album's quasi-concept of religion and has one of her most effective bridges ever (something that has been greatly missed in the 2000's). '500 Miles' is another light-hearted pop song (bringing the tally to 3--with 'Not Dying Today' and 'Fire To Your Plain'), and in terms of quality falls in the middle of the two. So far I cannot see any significant artistic value, although the climax at the end of the piece is done very well and has some redeeming features. However, at over 4:00 it takes too long to get there.
The last third of the album is where the album really takes off. Beginning with the delightful 'Mary Jane', she speaks of a teenage boy who tries to convince his mother to stay at a girl's house over the weekend although really only wants to smoke pot! I can see this working really well live, and musically is quite different since it's only vocal and piano (her first since `Toast' from 2005's `The Beekeeper'). This is another light/fun song, which brings the tally up to four on this album--a little too much, although this one is definitely one of the album's assets. `Starling' begins just beautifully with it's muted guitars (quite the contrast to her last record), and is one of her most transcendent songs, and has a lovely bridge seems with a strong Beatles' influence. No question the most emotionally affecting track on this album and one of the best. 'Fast Horse' is another flawless song and makes great use of loud verses and a soft chorus. It also features a variety of time signatures, which always work brilliantly with Amos. 'Ophelia' follows and is one of the few tracks here to feature piano at the forefront. One of her best ballads of the 2000's. The closing track features a strong jazz influence, and showcases Amos at her absolute best. It is a seven minute epic and it hasn't been since 1994's underrated `Under The Pink' where the listener has been taken on such a long journey during the closing track! Strong imagery is used, as you can almost imagine Amos singing this at a bar in the 1950's, and the lyrical motifs are continues with lines such as "Boys play well after midnight. Can I join you?" The album closes with a huge climax during the last few minutes and finishing the album bold and triumphantly, like any good album should. A bonus track `Oscar's Theme' is included on the UK and Australian editions of this album, and I always listen to this after 'Lady In Blue finishes. It is the 'calm after the storm' and makes the album feel complete, so I always listen to the 18-track version.
Amos shows that she can still create very high quality albums 17 years into her career. However she is a radically different artist now, and the piano has taken a much less active role since `Scarlet's Walk' (2002), but her musicianship is definitely still there. Although I was sceptical of the length of the album at first (her 4th consecutive album over 70 minutes), she has delivered an almost flawless album and is her best since 1998's 'From The Choirgirl Hotel'. Readers must realise, however, that she has almost impossible standards to live up to (namely the first four albums). This is Tori's best album this decade and I remain confident that this will be looked upon far more highly in the next 5-10+ years. It is unlikely that she will ever be able to create an album as good as the first four classics (very, very few artists are able to make even one album of such quality), however after the relative artistic slump following 2005's 'The Beekeeper' this release shows that she is continuing to improve, and I can't wait for her next project. (I use the term relative because unlike many other fans I am still a *huge* defender of albums such as 'The Beekeeper' and 'American Doll Posse' (2007) despite the fact that they rank lowly in the Tori Amos canon). My expectations were vastly exceeded with this release and I don't have enough positive things to say about it, in spite of its minor flaws.
5 stars.
Abnormally Attracted to Sin Poster
ABNORMALLY ATTRACTED TO SIN, Tori's tenth studio album, is another innovative chapter in the artist's trailblazing story. Every track on the album will be accompanied by a corresponding `visualette,' featuring footage that has been captured over the past year. Shot in HD and Super 8, the visualettes will incorporate a documentary style. Tori's most recent album, AMERICAN DOLL POSSE, which has been hailed by Rolling Stone magazine as `her best album in years,' was released in 2007 to a chorus of rave reviews. The captivating album, like many of her previous efforts, adhered to a strong conceptual theme, with Tori inhabiting multiple archetypal female personae, a testament to her willingness to continue to push the boundaries of the female singer/songwriter. Regarded as one of the most emotionally fearless live artists in music today, her most recent world tour, launched in the summer of 2007, saw her soar with her first full-fledged rock band in nearly a decade. Media platforms such as the BBC lauded both her live show and album as `returning Tori Amos back to the forefront of a genre she defined...still pushing her own boundaries.' With more than 12 million albums sold, and commanding a significant and uniquely loyal audience from the rock, pop, alternative, and under-the-radar regions of the music world, Ms. Amos has influenced a new generation of artists in a myriad of platforms. Most recently, she was the catalyst for a one-of-a-kind anthology chronicling her career, the 500 page Graphic Novel, Comic Book Tattoo, featuring stunning visual interpretations of her songs by more than 80 artists, (including an introduction by friend and creative influence artist Neil Gaiman, creator of the Sandman series). Her genre-shattering breakthrough in the early 1990s, including 1991's `Me And A Gun' EP, and 1992's masterwork, Little Earthquakes, single-handedly revived the piano-andsinger motif in rock music. Little Earthquakes went on to sell more than 3 million albums worldwide, with subsequent Grammy® nominated albums such as Under The Pink (1994), 1996's Boys For Pele, 2001's Strange Little Girls and 2002's Scarlet's Walk continuing to explore broader themes. Nominated for multiple awards, including ten Grammys®, Ms. Amos has been working on a musical for London's British National Theatre called The Light Princess tentatively scheduled to debut in 2010.Folk Music CDs
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