Tori Amos – Unrepentant Geraldines
“I started thinking in my mind about being repentant and being unrepentant for things, not apologizing for your beliefs…” – Tori Amos.
Taking this statement into consideration I will start by saying, I will be totally unrepentant for what’s to follow.
Tori has been a huge influence in music and her long-lasting career has undoubtedly proven so.
Unrepentant Geraldines finds her “experimenting and trying things” while she also tries to “resonate with the now” as she claims in the above video. The outcome sounds rather dated and more like a music cliché, not to mention the cover art. However, when she tries her tried and tested old-school technique, piano – vocals, the result is truly captivating and that can be found in songs like Oysters and Weatherman.
A siren who can proudly stand next to Kate Bush and Marianne Faithful, but this time didn’t quite deliver the unexpected. – Ioannis Diakonikolas
Tori Amos fans typically fall into 2 categories: first, the die-hard fans, and the ones that can’t stand her, fullstop. And as is typical of her recent production, this album is not going to convert the as-yet-unconverted, but what it does have is a sense of unbridled confidence that was missing from previous albums since 2002’s Scarlet’s Walk. There is a sense of effortlessness where previous albums seemed rife with gimmick, saccharine production, and self-indulgence. Aside from about four songs that shouldn’t appear (Giant’s Rolling Pin is godawful), it has some of the most compelling moments she’s made in years. The title track, with such a horrendous name, would seem destined to be atrocious, but in fact, it’s a refreshingly, often beautiful 1970’s inspired rock melody which faces a complete tempo shift in the second half. However the standout tracks are the restrained piano-driven numbers: Oysters, Selkie, and WeatherMan challenge any song in Amos’ 30+ year career. – AJ Salgado
With Unrepentant Geraldines, Tori Amos proves that although 50 now, she still holds on to the fiery red-haired girl inside. Rebellious in her own trademark lyrical way, full of emotions, yet mature and ready to discuss social standards and even political concerns, through a “Back – to – Beekeeper” album.
The baroque pop sounds, her soothing voice and even Tash, in a mother – daughter duet on Promise, are all “good old Tori”; who doesn’t fear to get naked in her lyrics in order to portray the experience of being a woman, a mother, a citizen, a human. The whole album is a magnificent amalgam of lyrical poetry vs brutally literal lyrics, all “hidden” in a subtle way behind Tori’s beautiful piano playing.
– Aris Z.