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In Memory Of Violet's Husband, Kim Flint
1969 - 2010

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Keep an eye on our Twitter and Facebook pages since we often post quickie updates there when we're on-the-go.

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Calendar
View full listings.
    Tour Status

    Tori will be touring in 2014 to support the release of Unrepentant Geraldines. The European legs runs from May through June and the North American legs spans July and August. We do not know if additional dates elsewhere will be added.

    Other News Sources
    Current Release

    Unrepentant Geraldines (album, 2014)
    Release Dates:
    May 9 - Germany/Netherlands
    May 12 - UK/France
    May 13 - North America
    May 16 - Australia
    Recent Releases

    Gold Dust (album, 2012)

    Night of Hunters (album, 2011)

    Midwinter Graces (album, 2009)
    Abnormally Attracted To Sin (album, 2009)

    Live at Montreux 1991/1992 (DVD, 2008)

    American Doll Posse (album, 2007)

    A Piano (boxed set, 2006)

    Pretty Good Years
    (bio, 2006)

    Fade To Red
    (DVD, 2006)
    Cherries On Top
    comic book tattoo Comic Book Tattoo (book, 2008)

    News: The Times Midwinter Graces Review

    Posted by woj on Sunday, December 20, 2009 | Reviews

    The Times’ short review of Midwinter Graces appeared in the December 20th edition of this venerable newspaper but reviewer Dan Cairns’ opinion is less than stellar — although he at least recognizes Tori’s tack with creating the album.

    Tori Amos: Midwinter Graces

    From The Sunday Times
    December 20, 2009
    Dan Cairns

    2 stars out of 5

    A Christmas album by an artist who spent much of her early career skewering institutionalised religion (and once, unforgettably, sang about pleasuring herself while her family sang hymns downstairs) was always going to be an interesting proposition; and interesting is probably the kindest thing to be said about it. Amos opts to tinker with, rather than upend, the classics — We Three Kings, Coventry Carol, The Holly and the Ivy and the like — of the canon (alongside five of her own songs), for the most part failing either to subvert them or to improve on their innate beauty. The sense, which has grown of late, that Amos lacks a self-edit button — or someone who will say to her, “Oi, Amos, no!” — is less insistent. For once, though, more recklessness might have been welcome on an album that is occasionally lovely, but turgid for all that.