TURBULENT INDIGO

music collection blog of manicpixiedreamgirl / last.fm: vulnuscura / discogs: parliamental / i don't mind if you delete comments in my posts

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TITLE: To Venus and Back ARTIST: Tori Amos YEAR: 1999 FORMAT: Cassette

I paid an ugly amount for this extremely rare double cassette release because I’m Boo Boo The Fool. As my friend put it though, we stan talent!

Between Tori fans, Venus is criminally underrated due to its placement in her canon. It comes after a string of what is known to be her 4 best albums. Because this is her first album that’s considered Great and not Absolutely Flawless in Every Aspect, it tends to get left in the dust. That’s a damn shame considering it has some incredible deep cuts on it.

1999 was a hard time for Tori. She had a series of miscarriages that left her drained emotionally and she was fighting tooth and nail with a record company that would not promote her music properly (an exec actually screamed “I OWN YOU, TORI AMOS” in her face during a meeting). Before Venus was released, she owed Atlantic 3 more albums. This album was originally to be a collection of b-sides and rarities but new songs started coming to Tori, despite not wanting to give Atlantic any new songs. Once she had an album’s length of material she decided to turn it into a double album, with the second half being songs recorded during her famous Plugged ‘98 tour. I have to say that she ended up choosing some of the least interesting songs of the tour and I almost never listen to the live disc as a result. Her husband convinced her to include one of the more boring live tracks (can’t even remember which) instead of the band version of Liquid Diamonds which still baffles me to this day. Anyway by releasing this as a double album, Tori only owed Atlantic one last album. Enter 2001′s Strange Little Girls, with no Tori-penned songs in sight.

To date Venus is her most outwardly electronic album. I miss electronic Tori, it’s been a while since Abnormally Attracted to Sin, bring her back.

KEY TRACKS: Bliss, Juárez, Glory of the 80s, Suede, Dātura, Spring Haze, Precious Things (Live), Sugar (Live), The Waitress (Live), Purple People (Live) NOTABLE B-SIDES: Zero Point, Upside Down (Live)

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TITLE: How Big, How Blue, How Beautiful ARTIST: Florence + the Machine YEAR: 2015 FORMAT: Vinyl

My initial impression of HBHBHB was extreme disappointment. I have never been a huge fan of brass (why I HATE St. Vincent’s collaborative effort with David Byrne) and thought at least half the songs to be unlistenable. After a while, I finally started to warm up to it. I got as close to this album as I get with any other “meh” album by my favorite bands/artists. Fast forward to December 2015, I had just been “broken up with” for the first time and What Kind of Man really spoke to me. I couldn’t stop listening to it because yeah, what kind of man would break up with me?! From there, this album and I became inseparable. Sometime in May 2016 I opened my email in the late afternoon to find that me and a guest had won tickets to the NYC premiere of the film Florence had made to supplement the songs. It’d been released in parts since early 2015 and the album cycle was coming to a close. By the time 8 PM rolled around, I was in line to enter the theater, shaking, and incredibly excited. All the fans that won the contest got to sit in the front rows of the theater. After the film ended, Florence came to the stage to answer questions. I was the first to ask. This night is the most special and cherished moment in my life so far. Florence Welch talked to me. Laughed with me. Shook my hand. I didn’t get to tell her how much she means to me but by the sheer fact that I was there, she must have known. I will never take for granted that such an important influence in my life stood before me and thanked me for the question I asked her, because she could tell that I’d really thought about it. After this experience, all I can say is that How Big, How Blue, How Beautiful is a part of me. It’s a part of my soul.

KEY TRACKS: Ship to Wreck, What Kind of Man, Delilah, St Jude, Mother

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TITLE: Halcyon ARTIST: Ellie Goulding YEAR: 2012 FORMAT: Vinyl

Halcyon is one of my favorite albums. Every second of it is gorgeous: the strings, the beats, the synths, even the dubstep influences on Figure 8. I have a deep fixation on water and the images that these songs conjure for me are wonderful. Here, Ellie has matured leagues from her 2010 debut Lights. This album is much darker, more sophisticated, and lyrically coherent than its predecessor. Halcyon came out during a time in my life where I was particularly depressed and I’ll never forget the nights I stayed up late listening to it for comfort.

KEY TRACKS: My Blood, Only You, Halcyon, I Know You Care, Dead in the Water

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TITLE: Ghost Stories ARTIST: Coldplay YEAR: 2014 FORMAT: CD

This album is a grower and I didn’t like it at first. It wasn’t until my best friend urged me to give it another chance that I finally opened up to it. What I found was a stark, wintery breakup album. I understand that the general consensus is that this album might not be their best, but it’s more suited to my personal taste. Parts even remind me of Björk’s Vespertine (ex. True Love with its flickering, glitchy beats). I’m glad this album directly followed 2011′s Mylo Xyloto. It’s far quieter and more relaxing than their previous works, with the exception of track 8: A Sky Full of Stars.

KEY TRACKS: Always in My Head, Magic, True Love, Midnight, A Sky Full of Stars NOTABLE B-SIDES: Ghost Story

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TITLE: 浮躁 (Fúzào) ARTIST: 王菲 (Faye Wong) YEAR: 1996 FORMAT: Cassette

Cocteau Twins are one of my favorite bands, so imagine my surprise when I found out about their collaborations with an immensely successful artist that had been dubbed "the Chinese Björk." I was immediately drawn in by her image and her music didn’t disappoint. Fúzào was the first record by Faye that I was able to get my hands on and I loved it from the first listen. I had initially heard Fēnliè, a track penned by the Cocteau Twins; they later covered the song on one of their final EPs before splitting in 1997. It didn't take long to get into the rest of the songs, as well as Faye's other experimental and alternative-driven albums. This was a couple years ago and I haven't stopped listening since. Fúzào is definitely my favorite record of her in sound and aesthetic; I agree with critics who say it's her "boldest and most coherent effort." 

One thing I would like to say about Faye is this: I don't think she should be boxed in with Eastern women. It hurts her achievements as a woman of color to lazily compare her with someone who is half the world away and whom she shares almost no elements with musically. The Eastern world doesn't have that much of a demand for Canto or Mandopop artists (until I read about her on the Cocteau Twins' Wikipedia page, I had never heard of Faye despite her being the best selling Cantopop artist worldwide). In short: Faye is amazing and you should listen to this album.

KEY TRACKS: 想像 (Xiǎngxiàng), 分裂 (Fēnliè), 哪兒 (Nǎr), 堕落 (Duòluò)

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TITLE: Don Juan’s Reckless Daughter ARTIST: Joni Mitchell YEAR: 1977 FORMAT: Vinyl

I’m going to begin this review with an acknowledgement that Joni Mitchell used blackface on the cover of this album. Plain and simple, it is racist. I really, really wish she had apologized for this but as of 2013 she still defends it. The only thing we can do as consumers of media is be aware of the implications of things like this and understand why it’s completely unacceptable. Moving on, I think this is a great Joni album, even for all the shit it got at the time of its release. There’s an urgency in her voice throughout Talk to Me that we haven’t heard since her ‘71 masterpiece Blue. The sixteen minute long Paprika Plains is the centerpiece of DJRD. It was completely improvised on piano and displays her awesome talent for storytelling. There is a grand, orchestral swell immediately after she sings the title phrase. It happens twice and only twice.

KEY TRACKS: Talk to Me, Paprika Plains

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TITLE: Jagged Little Pill ARTIST: Alanis Morissette YEAR: 1995 FORMAT: Cassette

This album isn't the greatest selling debut album of all time for no reason. Some people (side-eyeing my sister) think Alanis’ voice is screechy and annoying, but I love how she stretches it to the very limits of her ability and uses it to express the anger and annoyance that seeps through these songs. This album is much like Tori Amos' debut Little Earthquakes in theme; both albums are about liberation and truth, although Jagged is much more outwardly confrontational. Morissette catapulted to fame with this album because she struck a chord with women internationally. Like now, women in the 90s had plenty to be angry about. JLP was a cultural phenomenon and I believe I have much to learn from its anger.

KEY TRACKS: All I Really Want, You Oughta Know, Ironic, Not the Doctor

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TITLE: When the Pawn Hits the Conflicts He Thinks Like a King What He Knows Throws the Blows When He Goes to the Fight and He'll Win the Whole Thing 'fore He Enters the Ring There's No Body to Batter When Your Mind Is Your Might so When You Go Solo, You Hold Your Own Hand and Remember That Depth Is the Greatest of Heights and If You Know Where You Stand, Then You Know Where to Land and If You Fall It Won't Matter, Cuz You'll Know That You're Right ARTIST: Fiona Apple YEAR: 1999 FORMAT: Cassette

Where to begin, the 444 character title? Jon Brion’s brilliant baroque pop production? The gorgeous music videos directed by Paul Thomas Anderson? Aesthetically this is my favorite Fiona album, though in general it ties for second place with 2005′s Extraordinary Machine. For a while I was being ~edgy~ and if an album wasn’t on vinyl I would buy it on cassette, like I did here. For me the quality of tapes give music a richer, fuller analog sound that I love. 

The short but haunting orchestral break in On the Bound always takes my breath away.

KEY TRACKS: Paper Bag, A Mistake, Fast as You Can

NOTABLE B-SIDES: Across the Universe

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TITLE: Boys for Pele ARTIST: Tori Amos YEAR: 1996 FORMAT: CD

It has been 20 years since Boys for Pele was released and you’d never guess; It’s a very rare example of an album that doesn’t date itself by its content or production. This is my favorite Tori album (and of all-time) because not only is it the weirdest thing she’s done by a mile, but it speaks to me like no work of art has before. This album chronicles her breakup with longtime partner and former co-producer Eric Rosse, a string of rebounds in the aftermath, and ultimately her journey to reclaim her own “fire” as a woman. It’s brilliant for the fact that there is no holding back anywhere on this record. There are times when we can see her become completely unhinged (Professional Widow), but then turn around and feel bad for the “enemy” (Not the Red Baron). At 18 (technically 19) tracks this album does run a bit long and can seem a little daunting at first, but a complete listen through is very rewarding. I’ve found that straight through is the only way for me to listen to it now. I am personally attached to this album because I, at time, have also been forced to reevaluate my relationship with men as a whole. I don’t know where I’d be without these songs. 

With the 20th anniversary of Pele, Tori has decided to remaster and rerelease it with b-sides and previously unreleased tracks! I almost cried when I heard the news. Then she asked fans to tweet about what the album meant to them and she FAVORITED MY TWEET! It’s truly something special when your ultimate musical idol acknowledges your existence.

KEY TRACKS: Horses, Blood Roses, Father Lucifer, Professional Widow, Marianne, Caught a Lite Sneeze, Muhammad My Friend, Not the Red Baron, Putting the Damage On, Twinkle

NOTABLE B-SIDES: To The Fair Motormaids of Japan, Hey Jupiter (The Dakota Version), Professional Widow (Merry WIdow Version), Honey (Live), London Girls

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TITLE: From the Choirgirl Hotel ARTIST: Tori Amos YEAR: 1998 FORMAT: CD

I just changed my main blog’s URL to thechoirgirlhotel so I figured I would kick off my music collection blog with this album. This is the album of hers that I've gotten into most recently, along with '96's Boys for Pele. I’d have to say that this is my second favorite Tori album because it is so different. For the first time we see her backed by a band and the result is a dreamy, electronica-laden fearscape. The album is very personal and she confronts disturbing and extremely personal topics like her miscarriage (Spark), as well as nightmares stemming from childhood molestation (Black-Dove). This is a very dark album, one of her darkest yet. If you are a Tori fan and haven't heard Choirgirl yet I urge you to give it a spin immediately. These songs are for night listening.

KEY TRACKS: Spark, Cruel, Black-Dove (January), Raspberry Swirl, i i e e e (pronounced eye-eye-eee)

NOTABLE B-SIDES: Cooling, Have Yourself a Merry Little Christmas, Purple People, Merman