MUSIC REVIEW: Tori Amos - Under the Pink

"Takes time to sink in -- then it hits you with its brilliance."

First things first: Under the Pink is not as good as Little Earthquakes overall. But considering Little Earthquakes is one of the most beautifully heartfelt albums I've ever heard (6/5 stars by Amazon's ratings), it's not like Under the Pink stood much of a chance. Nonetheless, it captures plenty of emotional power between Tori's emotive and elegant singing, her deeply personal lyrics, and her expressive piano playing.

Under the Pink is also a little less immediately accessible than Little Earthquakes. For the first several listens it's merely good, but it seems like the album's true greatness is bubbling below the surface, just explode and inundate the listener. The first 1/3 or so of the album hits you right away. "Pretty Good Year" is a gentle tune, and it moves into the witty and rocking "God," whose chorus contains an amazing hook. The beautiful "Bells for Her" is played on a weirdly tuned piano, but strangely enough the effect is chilling and stirring all at once. That harrowing chorus gives me goosebumps every time I hear it. "Past the Mission" features guest vocals by Trent Reznor from Nine Inch Nails, of all people. Surprisingly, he's a big contributor to the greatness of this track. The bouncy, light feeling choruses are juxtaposed with that slow, somber, and delicately sung chorus. During the chorus, Reznor's own whispered vocal lines layer Tori's lovely voice. The effect is very cool. (You might consider this to be special praise because normally I hate Trent Reznor.)

And then most people might listen to the rest of the album and not be excited. "What a good album this could have been," some will say, and go listen to something else. These people will not know what they missed. Although the later portion of the album are less approachable, it also offers the best songs in the long run. The astonishing 10 minute ballad "Yes, Anastasia" is particularly incredible, as is the one-two emotional punch of the back to back ballads, "Icicle" and "Cloud on My Tongue." The jazzy feel of "The Wrong Band" makes for a fun track, while the heavily rhythmic "Space Dog" and snappy "Cornflake Girl" are both hook-laden rockers. "Baker Baker" is a pretty song, and the "The Waitress" is enjoyable in its irony.

At first I thought Tori had toned down on the personal and emotional side of her songs, but it's just more subtle than before. The great stuff here is just as good as the good stuff on Little Earthquakes, and everything else is pretty darn close. A worthy, but not quite equal, follow-up to the yet unparalleled Little Earthquakes.