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Thread: Native Invader: your reviews and impressions

  1. #1396
    Senior Member RedHerring's Avatar
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    Quote Originally Posted by Kari View Post
    I can't imagine Tori is an easy lady, and we know Mark is stubborn and they both have a temper. But they've been together more than 20 years. I'm sure the good outweighs the bad.
    So it does according to Tori in this Sydney Herald interview.
    Last edited by RedHerring; Yesterday at 05:57 PM.

  2. #1397
    Lyrical acuity and mum-smarts menju56's Avatar
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    Quote Originally Posted by Nancy View Post
    I would be skipping Chocolate Song by now if I weren't intrigued by the fact that so many people I respect love it. Does anybody else think that Mark was really hurt by the "I hate you" line in Wild Way, to the point where Tori had to assure him she didn't hate him? Or is it just about chocolate?
    Excellent point. Hadn't thought of that.

    This is her first album for years (over a decade) where I feel like mostly all the songs just fell out of her. It feels the most "her" record in a while. UG was the beginning of that, but I feel it blooms here. ADP sounded like a concerted effort to do certain types of songs at times, AATS is the sound of someone struggling to find inspiration, NOH I think is accomplished but sounds a bit forced. This one has a naturalness to it; I'm thinking of a song like Bats for example, which is intricate and weird but very Tori. And not in a studied or self-conscious way. Sometimes in piano ballad songs like Girl Disappearing or Ophelia you feel like she's written something that she feels is "classic Tori Amos" and consequently it doesn't hit the mark - the piano ballads here have an urgency and naturalness to them that negates that. Reindeer King and Mary's Eyes sound like she has been taken by some higher inspiration for want of a better phrase. Even Breakaway, which has a more traditional chord structure, feels like it was something that just emerged. In short, it seems inspiration was really there for this record.

  3. #1398
    desert brother mich.'s Avatar
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    Not surprisingly, the thought of Tash turning to her and saying 'I want to be a singer' gives her palpitations. She and Hawley know they have to let go, but it isn't easy. Tash spent a few days in Amsterdam recently and the thought of her daughter in the cannabis capital of Europe triggered plenty of maternal fears. It didn't help that when Amos asked her husband what he thought their daughter was getting up to he said – and here she affects a deadpan English accent – "wife, she's getting baked [stoned]".
    I begin to ask myself if Tash is still ok with all these family anecdotes that usually happen at some auntie's table but in her case it's world wide media every time tori promotes her album. Looking at her Instagram she seems to embrace all the love given to her by the community and be happy about it. Then again it was different when she was a child ('the black guys are hot' and so on) but as she's turning 17 it's giving me cringes.

    But maybe she's fine with it

  4. #1399
    Hock...hockety-pockety? Joey's Avatar
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    Quote Originally Posted by menju56
    This is her first album for years (over a decade) where I feel like mostly all the songs just fell out of her. It feels the most "her" record in a while. UG was the beginning of that, but I feel it blooms here. ADP sounded like a concerted effort to do certain types of songs at times, AATS is the sound of someone struggling to find inspiration, NOH I think is accomplished but sounds a bit forced. This one has a naturalness to it; I'm thinking of a song like Bats for example, which is intricate and weird but very Tori. And not in a studied or self-conscious way. Sometimes in piano ballad songs like Girl Disappearing or Ophelia you feel like she's written something that she feels is "classic Tori Amos" and consequently it doesn't hit the mark - the piano ballads here have an urgency and naturalness to them that negates that. Reindeer King and Mary's Eyes sound like she has been taken by some higher inspiration for want of a better phrase. Even Breakaway, which has a more traditional chord structure, feels like it was something that just emerged. In short, it seems inspiration was really there for this record.
    Nail on the head. That effortlessness is back and it is so wonderful to hear.

  5. #1400
    I know I'm in the minority here, but I almost think there's too much of that effortlessness on the album, in a way that makes it sound like she was just jamming on the piano/organ and set the new songs in stone after the first go. I appreciate it a little more when it sounds like a songwriter played around with chords and structures to break out of the norm. What I do like is that many of the styles and moods are new and fresh. But that's production to a large extent. Underneath that the structures seem very by-the-books for a Tori Amos record, which kind of sounds to me like she pushed herself in new directions with timbres and overall sound but not as much in the composition process. It's the one thing that's holding this album back from good to great for me.

  6. #1401
    it's a long long climb Kari's Avatar
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    I totally disagree. Broken Arrow, Wildwood, and Bang are structurally really interesting. And Up the Creek is nothing like any song she's ever done.

  7. #1402
    Senior Member Jezebelle's Avatar
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    Great article linked above. I'm surprised to read this quote about the muses:

    I ask her if these muses, the ones who deliver songs like a team of spectral FedEx agents, take on a physical form. She doesn't miss a beat. There are nine of them, they appear in different forms and they sometimes have grey hair, she says. "I've always felt that they were there, always, but as a child I didn't know what to call them.
    So the muses are specific, distinct beings?! I've always wondered what her mental health would be look if she had not encountered a piano at such a young age. Such a fascinating woman, indeed.
    chillin in kyoto grand with my man Skrill

  8. #1403
    Quote Originally Posted by Kari View Post
    I totally disagree. Broken Arrow, Wildwood, and Bang are structurally really interesting. And Up the Creek is nothing like any song she's ever done.
    By structurally I don't mean verse-chorus-bridge stuff. More like chord progression, melodic shape, etc.

  9. #1404
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    Quote Originally Posted by Jezebelle View Post
    So the muses are specific, distinct beings?! .

    https://owlcation.com/humanities/The...reek-Mythology

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