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Thread: Unrepentant Geraldines: your reviews and impressions

  1. #16
    By the methane lakes Bloody Grace's Avatar
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    Thank you Peeping Tommi!
    I'm curious to hear the drums now, I don't have too much problems with drum machines (I mean, I love Samael, and they use the drum machine during live shows too), but I'm a bit worried that to you they sound bad!
    Anyway, I'm sooo really curious to hear the album! Tuesday she's playing in Berlin, right? Let's hope she plays us something new
    I usually don't hate the most hated tracks, but the Ophelias and That Guys and Programmable Sodas and the TPOOKs, so I'm quite ok with some tracks being weird. I mean I like Police Me.

    I only have one questions for you who already heard it: does it flow well? My major problem with a lot of her albums is that the tracklist imho doesn't really flow like it does on FTCH or Venus, for example.
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  2. #17
    Quote Originally Posted by theswirlgirl View Post
    Peeping Tommi--would you say overall this album is a significant move away from what we were hearing in SW/TBK/ADP/AATS--or does it sound like the "next logical step"--as if the last five years (Light Princess plus NOH and Gold Dust and maybe MWG) had not happened and had little impact upon her? It's not so much a problem with her 00's output of original material.....it just felt like there was a "bloodcousin"-type relationship between all those albums....in some cases even sibling like....
    I get what you mean. Honestly, this record perfectly fits in the line of 'The Beekeeper', 'American Doll Posse', 'Abnormally Attracted To Sin' and perhaps 'Midwinter Graces'. Apart from the song with Tash being a dialogue, I don't really see much influence from 'Night Of Hunters' or 'The Light Princess' on this album.

  3. #18
    Queen of Spades Alamo's Avatar
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    Thank you so much for sharing, Peeping Tommi.

  4. #19
    and it sounds like all our lives Kari's Avatar
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    Thanks for the review. Hopefully there will be a few songs I like.

  5. #20
    Quote Originally Posted by Bloody Grace View Post
    I only have one questions for you who already heard it: does it flow well? My major problem with a lot of her albums is that the tracklist imho doesn't really flow like it does on FTCH or Venus, for example.
    This is something that I always really pay attention to as well. I hate records that don't flow well, and Tori has a few of those.

    It's difficult for me to say at this point, because we listened to one track, then stopped and talked about it before going to the next one. I do think the first five songs are really good, so that's definitely a nice sequence there. After that, there are songs that I do and don't like, so the 'flow' is not ideal to me anymore. But there's nothing weird on here like 'Fat Slut' going into 'Girl Disappearing' or 'Original Sinsuality' going into 'Ireland'. All in all, the album sounds like a complete body of work. It does not go all of the place like 'American Doll Posse' and 'Abnormally Attracted To Sin'.

  6. #21
    moved into a trailer park thunderpanda's Avatar
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    Quote Originally Posted by Peeping Tommi View Post
    I did enjoy her vocals quite a lot on this record, definitely the high notes. And the fact that there are quite a lot of piano/vocals only song on there are a plus.
    These two comments are the highlights for me. I am glad to hear that early reviewers compliment her vocals, because I come to Tori in large part for that amazing and evocative voice. I can forgive and enjoy a whole lot of production choices if that one thing is a constant factor.

    An album (by any artist) is basically a buffet of music, and you can't expect that everything on the table will be to your liking. But you can still walk away feeling full and happy

  7. #22
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    Quote Originally Posted by Peeping Tommi View Post
    I get what you mean. Honestly, this record perfectly fits in the line of 'The Beekeeper', 'American Doll Posse', 'Abnormally Attracted To Sin' and perhaps 'Midwinter Graces'. Apart from the song with Tash being a dialogue, I don't really see much influence from 'Night Of Hunters' or 'The Light Princess' on this album.
    This makes me a bit nervous, but I'm still looking forward to it!

    Thanks for sharing you thoughts on the songs!!

  8. #23
    Robbing the muse... Beelust's Avatar
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    Quote Originally Posted by sparkhotel View Post
    This makes me a bit nervous, but I'm still looking forward to it!

    Thanks for sharing you thoughts on the songs!!
    I think Peeping Tommi meant it does not sound musical-like or classical-like (or influenced by those records). Not that it sounds like AATS or ADP - given the song by song description.

  9. #24
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    Oh, woops thank you!!

  10. #25
    French boy Simon's Avatar
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    Thank you for the review !
    I'm excited ... If I have to cut 2 tracks and the rest is good I can deal with that

  11. #26
    Robbing the muse... Beelust's Avatar
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    Quote Originally Posted by Andyland View Post
    If the drums ended up sounding bad on this record, it won't be because electronic instrumentation is somehow soulless...it will be because it's been used poorly.
    More for the "I hate Mark" thread

    I enjoy TL - so I am not worried. Yet...

  12. #27
    By the methane lakes Bloody Grace's Avatar
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    Quote Originally Posted by Peeping Tommi View Post
    This is something that I always really pay attention to as well. I hate records that don't flow well, and Tori has a few of those.

    It's difficult for me to say at this point, because we listened to one track, then stopped and talked about it before going to the next one. I do think the first five songs are really good, so that's definitely a nice sequence there. After that, there are songs that I do and don't like, so the 'flow' is not ideal to me anymore. But there's nothing weird on here like 'Fat Slut' going into 'Girl Disappearing' or 'Original Sinsuality' going into 'Ireland'. All in all, the album sounds like a complete body of work. It does not go all of the place like 'American Doll Posse' and 'Abnormally Attracted To Sin'.
    Thanks, I'm really glad to hear that! AATS was absolutely terrible under this aspect, I'm happy UG is not as random!
    Also, even Choirgirl has some weird progressions (Swirl/Jackie/iieee? and I'm not that fond of the placement of Northern Lad either) and I don't like the tracks sequence of UTP quite at all, so I'm ok with it being at least a step forward compared to AATS/ADP.
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  13. #28
    Senior Member Mori's Avatar
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    I'm pretty intrigued now.

  14. #29
    Militia of the Mind toriMODE's Avatar
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    So so so relieved to hear that Trouble's Lament is not representative of the whole album. I wasn't gung-ho about the prospect of having an Americana/Folky album from Tori Amos. I can deal with quirky and weird. Much more excited about UG now. Thanks, Peeping!

  15. #30
    Senior Member Jake's Avatar
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    Unrepentant Geraldines: your reviews and impressions

    I heard the album tonight.

    I listened once all the way through, then had second listens to a few tracks. For anyone not interested in track-by-tracks, here's my summary:

    -Easily better than Abnormally Attracted to Sin. No question.
    -The most obvious influence on it to my ears is the The Light Princess; it's campy but self-aware, complex but straightforward, and ambitious
    -"Giant's Rolling Pin" is more "Programmable Soda" than "Not Dying Today"
    -"Oysters" is simply incredible
    -The title track is a beast. It weaves in and out of so many different styles.

    America: Sprightly, and reminded me of "Virginia." The personification of America is interesting; "She takes herself to night school" made me double take. There's a "Starling"-esque breakdown but I didn't cringe. The ending was pure Scarlet's Walk, and this is the first example of a song from this record that will sound perfect solo.

    Wild Way: Loved the piano on it. The lyrics are some of her most straightforward to date. Not too fussed otherwise, doubt it'll have many fans.

    Wedding Day: I adore this song. One of the ones I listened to twice. It has an absolutely gorgeous melody and the folky/Americana sound works so well. It has a darker feel and was one of the first instances where I started noticing how the album has a musical quality to it. Solo this will be amazing.

    Weatherman: The first of a group of songs that puts this album ahead of her material from the last few years. There's haunting piano and a gorgeous echo effect on her voice. Definitely "Garlands"-esque, and there's hints of Scarlet and the better moments from The Beekeeper. I wrote down "High notes!"

    16 Shades of Blue: A truly bizarre song. It maintains the dark mood set by "Weatherman," but takes it in a bitter, cynical direction. The lyrics are straightforward (some may find them pretty clunky). The production is all over the place, and I think its to the songs detriment. There are some great effects used on her voice, like a fuzzy megaphone effect, and some elements that slip in and out of the mix. There is just too much going on, like someone kept pressing buttons and didn't know when to stop.

    Maids of Elfen-mere: This would have sounded at home on Night of Hunters. Also hints of "Devils and Gods." It's celtic, renaissance-feeling but it's definitely one that goes in one ear and out the other.

    Promise: Given that Tash seems to be public enemy number 1 around here, I doubt many will change their opinion of the song in its full form. Personally, I really like the melody here, and Tash sounds truly lovely. The organ is the highlight of this song, though. There are some brilliant moments at the end where she plays higher notes on the organ and Tash emulates them? It's hard to explain.

    Giant's Rolling Pin: With all the hate and fear, I expected so much worse. This is a silly song that knows its silly. It's not "Not Dying Today," because it's more self aware of its whimsical quality. There's a tuba, which adds to the whimsy. I won't return to it nor do I need to hear it live, but it's really not as offensive as you think.

    Unrepentant Geraldines: Much like "16 Shades of Blue," I'm not sure how to tap into this song. It was another one I listened through twice because there is just so much going on. During one verse, my face was contorted in confusion. Then it would shift into something more melodic that seriously sounded like a Little Earthquakes-era melody. Some parts reminded me of "Witness" because there's a sensual groove provided by the organ. I also heard echoes of "Father's Son" during one of the slower parts. Suddenly, she whips out the best piano part of the entire record! Feverish playing and bass notes. It's ridiculous! Then the final 2 minutes are solo piano featuring impressive high notes.

    Oysters: This was my first time hearing the song, as I've resisted the shitty leak. So glad to agree with everyone that its one of the best things she's done since the 90s, and it simply ranks up there. Everything about it; the piano, the melody, her voice, the lyrics - this is Tori Amos. At the same time, it doesn't feel like a retread. I'd love to see her focus on what makes this song magical and turn it into a full album.

    Rose Dover: I need to listen to this one again. Another song that felt a tad discombobulated. There's loops and keyboards, and parts have an industrial quality. There's a dreamy-sounding post chorus, too. Overall, I could hear it on American Doll Posse.

    Invisible Boy: This will rank in the top tier for people. It's a truly beautiful song in the vein of Toast but this feels even more raw. You can hear her breathing, and towards the end you can even hear her voice break. It's obviously one close to her heart based on her delivery. My notes say: Lullaby, sparse, breathing, 90s b-side.

    So, yeah. Don't come after me with a pitchfork if you hear the album and completely disagree with stuff I've said, but this is my impression. I also reserve the right to change my mind once I've given the album more spins via good speakers and earphones. I can try and answer any other questions people might have. If you're excited, I think you should continue to be. I doubt anyone will reconsider their top 3 favorite albums, but this record isn't disposable. It will require a few listens to tap into themes and notice some very subtle beauty throughout.

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