Keyboard Magazine interview

Tori AmosIn the January edition of Keyboard Magazine, Tori Amos talks to Douglas McPherson about her creative process and her battle for creative freedom.

There’s information about the Live At Montreux 1991/1992 release, the song-writing process, The Light Princess musical and some information about the new album that she’s working on.

You can download the entire Keyboard Magazine interview with Tori Amos here in .pdf-format. 

It was to avoid conflicts like that that led Amos to leave Sony and fund from her own pocket the project she is currently working on. “It’s very much about the marriage of film and music. Think silent films, but centred around a song. It’s not a video. I’m calling them Visualettes. The story comes to you from the film and the song together.

“I had to become my own investor because, in this day and age, if you turn around and say, ‘I want to produce 17 short films and 17 songs…’ they’re looking at you and saying, ‘Not on our dime you’re not.’ That’s true of an indie as well as a giant, because an indie doesn’t have enough money. Everyone wants a guaranteed return, and with the economic situation the way it is, that means the ability to be brave is being aborted by the fear of our times.

“By leaving the Sony system I knew that if I could be the investor in the artist Tori Amos, then the work could be taken to its final moment on the creative side, before it gets meddled with. If you’re not holding those financial cards, if you have to partner with someone, then you have to open the door, and I don’t think records can be made as a democracy.”

Visit The Afterglow Community for discussion of this topic!


Comments are closed.