I am having a deep appreciation for the original Sugar recording. I still prefer the live TVAB version, but there’s something about this version that reminds me of a late 80s early 90s film — that synth is so evocative of the time. So cinematic, like the score to closing credits
Anyone know if there are plans to release this? It’s so incredible on every level.
I finally figured out what Blue Lotus’s ending reminded me of in Tori’s earlier work — the moment where the song breaks open into something else entirely: the VH1 Storytellers version of Father Lucifer has this beautiful bridge I’ve always loved:
The climax of this song takes my breath away every time just like when the organ appears in 23 Peaks.
Many folx here have referred to ITOD as a follow up to BFP. I don’t see this connection at all apart from the harpsicord.
For me, ITOD sounds stylistically most similar to SW (and thematically, given the road trip) but I’m genuinely curious what others hear…
I hope we are getting some on this album!!!
Obviously I realize each some plays a role but some feel unnecessary and although Tori’s never preferred a tight album list, I think this album, though wonderful, could benefit from one.
Anyone else hearing early 90s Enya in the bridge at the end of Tempest? I love it
Holy shit — on full blast.
This may be one of my favorite Tori hooks. It’s so moving!
Loads of musicians work with close collaborators and romantic partners, however, with all the references to Mark vs the Lizard King, I can’t help but wonder if Tori’s fidelity to Mark as both a life partner and music producer has had some consequences for her music. What if she had worked with other music producers? What other sounds would have emerged? This is, of course, speculative thinking but after reading the line in the recent Pop Matters review about how much of Tori’s later work had never achieved the heights of her early career, it made me wonder if this is not a fault of Tori alone but her team (which, I would argue, includes her visual team). I’m still excited for tomorrow!
I am a longtime fan who admittedly has not loved much of Tori’s work after Scarlet’s Walk. I’m having a late stage appreciation for Ocean to Ocean (live) and it’s the first song I’ve heard of Tori’s later catalogue that has transformed or evolved in a way similar to live 98 versions of Sugar and the Waitress. It’s so beautiful