tori amos

Boys for Pele by Tori Amos
1996, Atlantic, 18 tracks at 70 min.
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RATING: 47 out of 50

Ah, Boys for Pele. A clumsy, difficult introduction to Amos; an introduction not recommended by her fans largely for those reasons. Keep in mind, though, that Tori Amos fanatics are far from being on any radical end of the musical spectrum. There’s nothing ‘radical’ about any of Tori Amos’ records—feminism, a piano, some songs about men, and a whole bunch of—as Nabokov might say—“moth-bitten” mythologies.¹ But don’t let that stop you, as Boys for Pele may just be Amos’ best work.

This was the first Tori Amos album I purchased, around two years ago. It didn’t ‘turn me off’ from her music, mainly because I found it so rich, very full-bodied and baroque. And, hey, there were a bunch of postmodern, ambient photos in the booklet, all of them probably taken with an ISO of like a billion. Two-years-ago-me was, doubtlessly, impressed.

But even more impressive than a bunch of cheesy Lomographs was the way Amos raged on this record. There was a hell of a lot of harpsichord but it all sounded violent, if at times hopelessly fragile. The wit was sharpened and honed, despite the occasional dose of forced eclecticism.² It was a grand ole’ time, if songs about heroin and the ‘girl zone’ are your idea of fun.

Good times have to end somewhere, though, and one wonders why Amos had to make this record the musical equivalent of The Second Sex. Eighteen songs? That’s pushing it, especially when the hooks start to drift farther and farther apart from one another (“Putting the Damage On”). The first half of the record is generally fantastic, and it’s the second portion where one starts to encounter problems. Amos begins to soften her tone, and by the final track she sounds like a delicate twig, ready to snap. Why not finish strong?

Despite its shortcomings, Amos demonstrates on Boys for Pele the ability to merge highly idiosyncratic mumblings with classical flavour and alternative appeal. It may not be a work of genius, but this album is hard to pass up as its influence can be seen so clearly in the tender-throated starlets of today—Bat For Lashes, Poe, Fiona Apple. Boys for Pele isn’t magnificent, but it is essential.

Notes
1: Can't find the quote but I'm almost sure I've read it somewhere (maybe The Paris Review?)
2: Also demonstrated by Amos’ breastfeeding of a pig in the CD booklet.

Ready for da cold.

There’s nothing better than coming home after a long week, checking my Squid Can ‘updates’ email, and finding this:

After nearly two decades writing and recording some of her generation’s most emotionally powerful music, Tori Amos will release her first seasonal album, Midwinter Graces, on November 10 via Universal Republic.”

Woah. Did I read that right? A Tori Amos seasonal album? Complete with goofy cover art and songs that may possibly be more astoundingly bad-slash-good than “Police Me”? Oh, but here’s the best part—there are original songs. Pretend I just whispered that in your ear. You can’t yell shit like that aloud. This is sensitive information. Nobody else can know about new, sure-to-be-classics like “Jeanette, Isabella” and “Pink and Glitter.”

Okay, I kid, but will I buying this? Haha, no. Until I hear samples, this is barred from my Valhalla-sized “Stuff to buy” list. Even if it has been “40 years in the making.”

Also, you may have noticed that, as of late, I’ve been adding little blocks of interesting links to the bottom of each news post. Occasionally I may expand one of those links into a short blurb. This is one of those occasions. Also, I should be watching The Office on [adult swim] right now. But I needs some sleep.

Read this: “Rape Fantasies” by Margaret Atwood
(Read at Scribd ) A grim yet entirely intriguing title, isn’t it? In this (very) short story, Atwood uses her typically hyper-caustic wit and humor to cut swaths across a recurring fantasy for modern females. You’ll laugh, but you’ll also ponder what Atwood is trying to say about the nature of gender and communication.

Mp3: “Fire Ant” by Space Ghost (sort of)
Next album review: The Phoenix Demos by Kate Bush (Tomorrow)

Watch this: Music video for “Lily” by Kate Bush (YT)
Daily bargain: Moderat by Moderat ($5.49 at Lala)
Cool beans: "Matthew’s non theme based fancy dress party" (via 27b/6)
Sign of the endtimes: Guiding Light ends

A cover of The Strangler's song, "Strange Little Girl" comes from Tori Amos' disc of feminist interpretations on several songs, the excellent Strange Little Girls. "Strange Little Girl" starts off with a neat little groove before plunging into steady, polished riffs. Amos sings with restraint but also with aptitude, and while we're never quite sure where the "strange little girl" is headed, we're pleased with the musical result nonetheless.

Track of the Day is back, with not so much of a vengeance! Today's track is a single from Tori Amo's superb Boys for Pele (1996). Its strong feminist message is only empowered through the catchy beat.

A satisfying display of raw feminine prowess. From Amos' debut album, Little Earthquakes.

The opening track(s) from Tori Amos' experimental Boys for Pele. Eerie, poignant, and unsettling.

Crooning, brooding, screeching, breezy, bluesy, poppy, spunky sounds from an eclectic group of female vocalists. Includes Björk, Flunk, Bitter:Sweet, Lamb, Nina Simone, Frida Hyvonen, Portishead, Tori Amos, and Venus Hum. Ten tracks.

View Playlist at iTunes Store