Jan 25 2009

Keyboard Magazine interview

Posted by The Afterglow Staff on January 25, 2009 at 10:00 AM

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.”

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Oct 13 2008

Tori Girl: How Tori Amos is spreading her wings

Posted by The Afterglow Staff on October 13, 2008 at 10:00 AM

interview_independant01

The maverick singer is spreading her wings. She’s writing a feminist fairytale for the National Theatre, she tells James McNair for The Independant.

“There’s nothing wrong with Disney,” says Tori Amos, “but my benchmarks are more West Side Story meets Jesus Christ Superstar. I’m trying to write a musical that will be relevant to a 16-year-old today, a rite of passage for a young girl into womanhood.

“The National Theatre [with whom she’s in talks] has been more open-minded than anyone I could have worked with on Broadway, but everything has to be approved by committee, and I have to tell you that not everyone is aboard my Bösendorfer rocket-ship. They can pull out and this musical may never be staged, but I don’t want to be writing for a fuddy-duddy audience.”

Having split with Epic, Amos is financing recording sessions for her as-yet-untitled 10th studio album herself (again there’s a concept; each song will be tied to its own short film), but with 12 million album sales and a vast, famously loyal fan base behind her, the singer surely needn’t worry about this winter’s fuel bills?

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