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Ghost Canyon

Title - 'Unrepentant Geraldines (Deluxe Edition)'
Artist - Tori Amos

Tori Amos has just-released her brand new studio album, Unrepentant Geraldines, and boy, what a lovely combination of piano infused with pop/rock it most certainly is.

Indeed, in both content and feel it is such a change in pace from Amos’ most recent releases. The album is both one step further in the evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.

This delightfully toned album (whose cover sums up the musical content perfectly) begins with the country-proud tale of ‘America,’ a track that has an almost female Beatleseque feel to it, for sure. That’s followed by the bouncier, yet still gentle twang of ‘Trouble’s Lament.’ We go back to vocal and piano basics for ‘Wild Way,’ a track where Amos immediately foreshadows the lyrical plot by informing the person in question that she hates them! The slightly more upbeat ‘Wedding Day’ is next, before Amos slips into her known musical comfort zone for both ‘Weatherman’ and ‘16 Shades of Blue.’

The dreamy age-old tale of ‘Maids of Elfin-mere’ is brought forth next and is as medieval-sounding as one would expect given its title. The ballad ‘Promise’ is as beautiful as it actually sounds; given the fact that Amos tries to avoid a vocal + somber piano combo and instead adds some gently pop bounce as its back beat. Very Beyonce, if I may say so myself! Moving on and next comes the slight funk-pop feel of ‘Giant’s Rolling Pin,’ with the slower ‘Selkie’ backed by the bouncy title track, ‘Unrepentant Geraldines.’ The album then comes to a close with the majestic ‘Oysters,’ the perky ‘Rose Dover,’ and finally the comfort zone (complete with snippets of an audible fake British accent!) of ‘Invisible Boy.’

The second bonus disc in the package includes: 1) Video footage from the photoshoot, 2) Video from the studio and 3) Interviews with Tori herself.

Reviewed by: Russell A. Trunk





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