home Humor, Music, North America, Women 12 Reactions That Tori Amos Fans Will Probably Have While Listening to Her New Album

12 Reactions That Tori Amos Fans Will Probably Have While Listening to Her New Album

Classically-trained pop pianist Tori Amos released her 14th studio album last week; while its title (Unrepentant Geraldines) is a bit of a head-scratcher, many critics and fans have praised the album as a return-to-form for Amos. Unlike several of her previous post-2000 albums, she’s toned down the “alter egos,” wigs, costume changes, and overly-complex backstories in favor of poppy and deeply affecting mediations on aging, interpersonal relationships, and the inspiration found in visual art. This album proves that Amos is not just a 1990s throwback—for the majority of Unrepentant Geraldines, Amos’s songwriting and composing abilities are as sharp as ever. Longtime Amos fans will probably react strongly to this album; here’s a light take on what to expect if you’re a die-hard pair of “ears with feet” (as the songwriter herself calls her fans):

Hearing the first two songs, “America” and “Trouble’s Lament”:


…and then realizing that they are two of the album’s weakest tracks:


The extended gut-punch/heartstring grab of tracks 3-5 (“Wild Way,” “Wedding Day,” and “Weatherman”):


When “16 Shades of Blue” gets stuck in your head because of the catchy melody and its biting (but subtle) social commentary:


Listening to “Promise”—a beautifully sung but bizarrely written duet between Amos and her teenage daughter—and then you skip the track halfway through:


When you hear Amos awkwardly name-check the NSA and the FBI on “Giant’s Rolling Pin” (which, inexplicably, is also about making pie):


Listening to “Selkie” (which takes its name from mythological seal/human creatures), and then listening to it three more times in a row:


Realizing that the title track is three different songs:


…and then realizing that you don’t care:


Hearing the “I’m working my way back to me again” line from “Oysters”:


Listening to “Invisible Boy” all the way through:


Realizing that Tori Amos has finally made an album that is mostly free of the middling excuses for “songs” (padding, really) that she’s put into so many of her post-2002 releases:



Anna Hamilton

Anna Hamilton is a writer, cartoonist, and gadfly residing in the Bay Area.