Night of Hunters

Last updated

Night of Hunters
Studio album by
ReleasedSeptember 16, 2011 (Germany)
September 19, 2011 (UK)
September 20, 2011 (North America)
Genre Classical crossover [1]
Label Deutsche Grammophon
Producer Tori Amos
Tori Amos chronology
Midwinter Graces
Night of Hunters
Gold Dust
Singles from Night of Hunters
  1. "Carry"
    Released: August 18, 2011

Night of Hunters is the twelfth solo studio album by American singer-songwriter Tori Amos, released on September 20, 2011, in the United States through Deutsche Grammophon. [2] It is a concept album that Amos has described as "a 21st century song cycle inspired by classical music themes spanning over 400 years." [3] She pays tribute to classical composers such as Alkan, Bach, Chopin, Debussy, Granados, Satie and Schubert, [4] taking inspiration from their original compositions to create new, independent songs. Regarding the album's concept, she has described it as the exploration of "the hunter and the hunted and how both exist within us" through the story of "a woman who finds herself in the dying embers of a relationship." [3]


Night of Hunters is Amos's first studio album recorded using only acoustic instruments, relying solely on her vocals and classically trained piano skills, along with a variety of accompanying string and woodwind instruments, to create its classical sound. [5] Additionally, to record this album Amos broke a nearly 15-year-long collaboration with her studio and touring bandmates, choosing to work with a variety of new musicians, including the Berlin Philharmonic's principal clarinetist, Andreas Ottensamer, and the award-winning string quartet, Apollon Musagète, while enlisting her daughter, Natashya Hawley, and niece, Kelsey Dobyns, as guest vocalists. Night of Hunters also marks the twentieth anniversary of her long-time collaboration with John Philip Shenale, who has contributed arrangements to most of her albums, beginning with her solo debut, Little Earthquakes (1992).

The album is Amos' first release on a classical music label. Like her previous releases, it is available in both standard and deluxe CD formats, digital format, as well as limited edition vinyl. Amos also released an entirely instrumental version of the album entitled Night of Hunters – Sin Palabras (without words) available only to download.

The main promotional single released from the album is "Carry", a variation on La fille aux cheveux de lin by Debussy.


In an interview with Out magazine, Amos revealed that work on Night of Hunters began after Deutsche Grammophon approached her to write a 21st Century song cycle under the condition that it be centered around classical music themes. She also suggested that her work on the upcoming musical, The Light Princess , sharpened her narrative skills for the project. [6] In the official electronic press kit released for the album, Amos spoke of listening to and being inspired by the music of Stravinsky and of how she was "taken by the idea of an octet" for this project, stating that she found it appealing that other instruments could serve as the voices of various characters throughout the story while not overpowering the piano as the central instrument of the piece. [7] In an interview with Marcel Anders, journalist for The Interview People, Amos credited Dr. Alexander Buhr, executive producer for Deutsche Grammophon, with providing her with a wealth of knowledge on the great composers of the last four-hundred years and with recordings of some of their best compositions. Amos pointed out that it was Dr. Buhr who initially approached and offered her the opportunity to headline this project. During this interview, Amos also cited Schubert's Winterreise as "a mentor in many ways"[ citation needed ] while composing Night of Hunters.


According to Amos, the concept centers on a woman who is left alone on the eve of her relationship's demise in an old Georgian house near the River Bandon, located on the outskirts of Kinsale, County Cork in Ireland. As dusk turns to night, the woman is confronted by Annabelle, a shapeshifting "childlike creature" who "emerges from nature", played by Amos's daughter. The mythical creature, representing "duality", as well as the ancient forces of "the hunter" and "the hunted", coaxes the woman to follow her into the night, transporting them both approximately three-thousand years into the past to witness a previous incarnation of the woman's relationship. It was a time of great chaos and violence in ancient Ireland as a war of beliefs raged on, and the woman and her lover fought side-by-side as bards, using the ancient tree alphabet as their only weapon. Once the war was lost, however, the woman and her lover crossed the Atlantic on his sailboat, abandoning her world, the New World, in favor of his world, the Old World. It was during this time that forces, both within and outside of their control, drew the couple apart. After their sojourn into the past, Annabelle inducts the woman in an ancient peyote ritual which is meant to further expand her consciousness through both hallucinogenic and meditative means. During the ritual, Annabelle helps the woman realize how she abandoned her own fire and inner-strength when she left her world in favor of her lover's. The woman also sees how both she and her former lover interchangeably misused the ancient forces of "the hunter" and "the hunted" against one another throughout the course of their union. This self-destructive dynamic, in turn, also plagued the present-day incarnation of their relationship. Once the ritual and woman's self-examination are complete, Annabelle reminds her of the perils and benefits found in using and misusing the ancient energies of "the hunter" and "the hunted". The creature also advises the woman that there are "forces" at work that must be dealt with and that she must leave her so that she alone may face the Fire Muse, played by Amos's niece Kelsey Dobyns. In meeting the mythical goddess, the woman is allowed to recapture the fire and inner-strength she had abandoned, both in her past and present incarnations, and is taught about the "light" and "dark" forces of the world at large. The Fire Muse reminds the woman that more than just her own mortal pains and desires are of concern and, together, as the fiery goddess calls upon the woman to see the world from a higher perspective, they weave a spell to protect the light of the world from the forces of darkness. The woman ends her journey at dawn, renewed and grateful for her place in the world and for all of the people that have inhabited her life, including her former lover.

In an interview with Instinct , Amos spoke of relating "to both the male and female in this story,"[ citation needed ] while during her interview with The Interview People, she stressed that the themes tackled on the record are dualistic in nature for her, whereby they are somewhat telling of both "intimate conflict[s]" within her own marriage along with the "greater problem[s]" of the world today.[ citation needed ] Amos revealed that the album is "a compilation of experiences Mark and I have had for over sixteen years. We're still together, knock on wood. And we work together and we play together. And we're trying to be parents together. And it's difficult sometimes when you have to be the grown-ups."[ citation needed ] "I understand the man and the woman [on this album] very well," she continued. "It's not a play by play of me and husband, but there is a bit of us in there."[ citation needed ] In regards to the universal aspect of the record, Amos concluded, "As the story progresses, the protagonist begins to see that there [are] greater problem[s] in the world. And they have to deal with their world. Not just another person in their world, but their relationship to the world itself."[ citation needed ]

Promotion and touring

Promotion for Night of Hunters kicked off on August 18, 2011, when Amos and Deutsche Grammophon debuted a video for the song Carry along with an audio stream of the song "Shattering Sea" on Facebook. [8] On September 12, 2011, NPR featured the first authorized full audio stream of Night of Hunters, accompanied by a review of the album by music journalist Ann Powers, co-author of Amos' biography, Piece by Piece (2005). [9]

To promote the album, Amos embarked on the Night of Hunters tour supported by the Apollon Musagète, [10] making it her first tour with a string quartet. Amos launched the tour in Europe on September 28, 2011, in Helsinki, finishing in Dublin on November 9, 2011. This was followed by a tour in North America that began on November 29, 2011, in Atlanta, Georgia, and ended on December 22, 2011, in Grand Prairie, Texas. Prior to the tour, Amos has revealed that Shenale was rearranging various songs from her catalogue to accommodate the string quartet. [6]

Critical reception

The album was awarded the Echo Klassik-ohne-Grenzen-Preis (Classics without Borders Prize) in 2012. [11]

Professional ratings
Aggregate scores
Metacritic (70/100) [12]
Review scores
AllMusic Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [1]
The A.V. Club B+ [13]
Daily Express Star full.svgStar full.svgStar full.svgStar full.svgStar full.svg [14]
Drowned in Sound (7/10) [15]
Entertainment Weekly B [16]
Los Angeles Times Star full.svgStar full.svgStar full.svgStar empty.svg [17]
Metromix Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [18]
MusicOMH Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [19]
Uncut Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [12]
Spin (7/10) [20]

Although some critics took issue with the extensive concept of Night of Hunters, reviews were mostly positive, with many also citing it as Amos's strongest release in nearly a decade. [13] [14] [21] [22] [23] [24] Additionally, a number of critics took note of the vocal contributions by Amos's daughter and of Amos's own skills as a pianist, citing both as major highlights of the record.

AllMusic gave the album a glowing review, stating, "[Amos] employs her finest vocal and piano-playing skills [here]," resulting in an album of "sophistication, elegance, and poetry" that "contains the power, dynamics and splendor of her very best material," [1] while the Associated Press observed, "There are clear classical, even operatic influences, from sweeping strings and reedy woodwinds, [to] Amos' gripping piano" on this "beautifully composed album which highlights Amos'[s] classical training and fierce intensity as a musician and songwriter." [25]

The A.V. Club praised Amos for "[getting] back to the basics", calling the record a "sprawling [...] thesis on the enduring beauty of classical music" and "[Amos'] most enjoyable album in years," [13] while Blurt magazine insisted, "There's so much more to Amos' latest music," stating, "The one-time child prodigy is a celebrated virtuoso for a reason. Doubters need only listen to her ever-masterful piano playing intertwined with orchestral movements [here] and her as-distinctive-as-Stevie Nicks' voice to confirm that", declaring the album "a rare musical vision you'd be foolish to pass up." [26]

The Daily Express also hailed the album, calling it "complex, accomplished and [Amos's] finest work in a decade." [14]

Glide Magazine was taken by the "power, immediacy and splendor" of the album, stating, "Amos has delivered her most absorbing, forceful and captivating record since 2002’s Scarlet's Walk ," declaring it, finally, "a venerable tour de force." [23] Drowned in Sound gave a positive review, praising Amos for the sparse production of the album and noting "as a whole [it] showcases the best of [Amos's] piano work." [15]

The Guardian criticized the album for its "overthought concept" and focus on "resolution rather than build-up", but praised Amos for her craftmanship as a musician, stating, "[The fact] that Amos can weave her own songs so deftly into variations on classical pieces is testament to her talent, and the piano, string and woodwind arrangements frequently sound as lovely as her earlier orchestral experiments." [27]

The Harvard Crimson praised Amos for "composing an album that effectively uses chamber music as a tool relevant to the times," declaring it "the work of an accomplished musical architect" and describing it as "an inimitable blend of vocal arrangements, orchestral scoring, and a spiritual homage to nature" with "moments of impeccable instrumentation" that "play more like the score of a dramatic film than the work of a singer-songwriter," all of it culminating in "an intricate, swirling triumph." [28]

Holy Moly! called it "a sumptuous sounding work, with the piano to the fore," also noting "While this is a new approach for [Amos] (abandoning her usual musicians in favour of [a] clarinettist and string quartet), she sounds completely at home with what is essentially an intellectual take on the Broadway musical." [29]

The Los Angeles Times called the album "a beautiful kaleidoscope of remembering and letting go", comparing it to the works of Kate Bush and stating, "[Amos'] voice is a crystal bell with only the ivory [of her piano] guiding her" as we witness "an artist maturing and growing with her music, [and] making sense of her past in a wholly original, intelligent way."

The London Evening Standard praised Amos for handling the classical proceedings "triumphantly", stating, "From the reassuringly bleak opening to the breathy piano and scratched strings of the [album's centerpiece], these graceful, imaginative, all-acoustic songs threaten to give classical crossover a good name. Amos, meanwhile, deserves a reappraisal." [30]

Metromix called the record "one of the most gorgeous and challenging albums of Amos' career," pointing out her "stunning acoustic piano skills," and labeling it, finally, "a master class in Amos' artistic power." [18]

The Digital Fix gave the album a positive review, distinguishing it for its "rich sonic tapestry, with strings and woodwinds swelling underneath [Amos'] always virtuoso piano performances," [31] and NPR declared it "the album [Amos] was destined, by early apprenticeship and spiritual affinity, to record." [32]

The Observer , in turn, criticized the album for its "florid excesses", stating, "it plays out like an intermittently absorbing, if overly demanding, night at the theatre [...] but Amos'[s] voice possesses enough conviction and personality to breathe life into what could have been an orchestral folly," [33] while Ology also cited it as "[Amos'] best album in more than a decade," calling it "an overpoweringly lush rumination on her classical influences that’s both sprawling and intimate, powerful and delicate." [24]

PopMatters criticized the album for its "elliptical" narrative but noted, "Nevertheless, the album does contain its share of gripping drama, undeniable poignancy, and iridescent beauty" and "it is hard not to applaud, even marvel at its intense focus, meticulous craftsmanship, and bravura performances, not to mention its sheer artistic ambition." [34]

The Salt Lake Tribune commended Amos for "[skipping] the gimmicks that have marred her later works and [returning] to the raw emotion and power of her earlier songs," [35] while The Scotsman hailed the album, also comparing it to the works of Kate Bush and calling it "piano rich", "intensely personal", "bonkers, mesmeric and charged with a pristine eroticism," declaring, finally, "This is a real record by a real artist, a rare thing in this age of disposable culture." [36]

The Scottish magazine, The Skinny , praised the album for its "focus on delicate symphonies and baroque drama," comparing it to "the stark and candid nature of Under the Pink ," and citing it as both "a breathtaking return" and Amos's "strongest album in over a decade," [21] while Slant criticized the album for its uniform sound and tempo, but noted, "The more direct songs are genuinely beautiful and transcend the trappings of the album's rigid construct," also stating, "every [string and] woodwind instrument rings with the purest of tones in support of Amos' typically stunning piano work" resulting in a "beautiful, smart record." [37]

Spin praised Amos for creating "a wildly imaginative ride full of orchestral fireworks and fairy-tale melodrama," [20] while Uncut Magazine declared, "If the aim was to out-bonkers Joanna Newsom and Kate Bush while creating a compelling album, Amos has more than succeeded." [12]

The UK-based women in music compendium, Wears The Trousers Magazine, continued with the praise, also crediting the album with being Amos's "most cohesive and consistent" in nearly a decade, lauding her for "[building] on the work of past masters to develop an utterly distinctive vision of her own," resulting in "a rich, immersive record of beauty, danger and grace." [22]

Track listing

Adapted from the Decca Records official website. [38]

All lyrics are written by Tori Amos; all music is composed by Tori Amos except where noted.

No.TitleMusicVariation on:Length
1."Shattering Sea" Alkan Song of the Madwoman on the Sea-Shore, Prelude Op. 31, No. 85:38
2."SnowBlind (featuring Natashya Hawley)" Granados Añoranza from 6 Pieces on Spanish Folksongs3:14
3."Battle of Trees" Satie Gnossienne no. 18:42
4."Fearlessness" Granados Orientale from 12 Spanish Dances6:31
5."Cactus Practice (featuring Natashya Hawley)" Chopin Nocturne Op. 9, No. 1 4:27
6."Star Whisperer" Schubert Andantino from Piano Sonata in A major, D 959 9:53
7."Job's Coffin (featuring Natashya Hawley)" (Inspired by) Nautical Twilight3:32
8."Nautical Twilight" Mendelssohn Venetian Boat Song from Songs Without Words, Op. 303:16
9."Your Ghost" Schumann Theme and Variations in E-flat major, WoO 24 from Ghost Variations 5:38
10."Edge of the Moon" Bach Siciliana from Flute Sonata, BWV 1031 4:51
11."The Chase (featuring Natashya Hawley)" Mussorgsky The Old Castle from Pictures at an Exhibition 3:02
12."Night of Hunters (featuring Kelsey Dobyns)" Scarlatti, Gregorian chant Sonata in F minor, K. 466 , Salve Regina5:32
13."Seven Sisters" (Inspired by) Prelude in C minor (Bach)2:44
14."Carry" Debussy The Girl with the Flaxen Hair from Préludes I 4:07
Deluxe Edition Bonus DVD [39]
2."Carry" (Music Video)4:07
3."Nautical Twilight" (Music Video)3:20



The chart below lists the album's peak positions on various music charts around the world. While the album's debut at No. 24 on the Billboard 200 did not chart particularly well compared to some of her earlier albums, many of which debuted in the Top 10 in the US, Amos did make Billboard history by being the first female artist to have an album place in the Top 10 of the Classical, Alternative, and Rock charts simultaneously. [40]

Chart (2011) [41] Peak
Billboard 200 (U.S.)24
Billboard Top Rock Albums 7
Billboard Top Classical Albums1
Billboard Top Alternative Albums 5
Billboard Tastemakers8
Billboard Top Digital Albums15
UK Albums Chart [42] 27
German Albums Chart [43] 12
Dutch Albums Chart [44] 34
Norwegian Albums Chart [45] 31
Polish Albums Chart [46] 13
Australian Albums Chart [47] 42
Finland Albums Chart [43] 8
French Top 150 Albums Chart [43] 70
Italian Albums Chart 47
Austrian Album Chart 22

Related Research Articles

Tori Amos American musician

Myra Ellen "Tori" Amos is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She was expelled at the age of 11 for what Rolling Stone described as "musical insubordination". Amos was the lead singer of the short-lived 1980s pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics and religion.

<i>Boys for Pele</i> 1996 studio album by Tori Amos

Boys for Pele is the third studio album by American singer and songwriter Tori Amos. Preceded by the first single, "Caught a Lite Sneeze", by three weeks, the album was released on January 22, 1996, in the United Kingdom, on January 23 in the United States, and on January 29 in Australia. Despite the album being Amos's least accessible radio material to date, Boys for Pele debuted at number two on both the US Billboard 200 and the UK Albums Chart, making it her biggest simultaneous transatlantic debut, her first Billboard top 10 debut, and the highest-charting US debut of her career to date.

<i>Under the Pink</i> 1994 studio album by Tori Amos

Under the Pink is the second studio album by singer-songwriter Tori Amos. Upon its release in January 1994, the album debuted atop the UK Albums Chart on the back of the hit single "Cornflake Girl", and peaked at number 12 in the US.

Emerson String Quartet

The Emerson String Quartet, also known as the Emerson Quartet, is an American string quartet that was initially formed as a student group at the Juilliard School in the 1970s. It was named for American poet and philosopher Ralph Waldo Emerson and began touring professionally in 1976. The ensemble taught in residence at The Hartt School in the 1980s and is currently (2020) the quartet in residence at Stony Brook University. Both of the founding violinists studied with Oscar Shumsky at Juilliard, and the two alternated as first and second violinists for the group. The Emerson Quartet was one of the first such ensembles with the two violinists alternating chairs.

Anne Sofie von Otter

Anne Sofie von Otter is a Swedish mezzo-soprano. Her repertoire encompasses lieder, operas, oratorios and also rock and pop songs.

Tori Amos discography

Tori Amos is an American pianist and singer-songwriter whose musical career began in 1980, at the age of seventeen, when she and her brother co-wrote the song "Baltimore". The song was selected as the winning song in a contest for the Baltimore Orioles and was recorded and pressed locally as a 7" single. From 1984–89, Amos fronted the synth-pop band Y Kant Tori Read, which released one self-titled album with Atlantic Records in 1988 before breaking up. Shortly thereafter, Amos began writing and recording material that would serve as the debut of her solo career. Still signed with Atlantic, and its UK counterpart East West, Amos' initial solo material was rejected by the label in 1990. Under the guidance of co-producers Eric Rosse, Davitt Sigerson and Ian Stanley, a second version of the album was created and accepted by the label the following year.

<i>American Doll Posse</i> 2007 studio album by Tori Amos

American Doll Posse is the ninth studio album by American singer-songwriter Tori Amos, released in 2007 by Epic records. A concept album, American Doll Posse sees Amos assuming the identity of five different female personalities inspired by Greek mythology in order to narrate stories of life in modern America. Themes include opposition to the Iraq War, recording industry misogyny, disillusion, sexuality, personal loss and female empowerment in general. Musically, the album is more rock-oriented than other studio albums by Amos, notably featuring more guitar and drums than previous albums The Beekeeper (2005) and Scarlet's Walk (2002).

<i>Abnormally Attracted to Sin</i> 2009 studio album by Tori Amos

Abnormally Attracted to Sin is the tenth solo studio album by American singer-songwriter Tori Amos, released 19 May 2009, in standard and limited CD/DVD edition. The album debuted on Billboard 200 at no. 9, giving Amos her seventh Top 10 album in the US. Unlike Amos' previous releases since 2000, which drew upon various external sources such as feminism, religion and politics, the album is considered a mainly personal album.

Welcome to England

"Welcome to England" is a song by American singer and songwriter Tori Amos, appearing on the album Abnormally Attracted to Sin (2009). It was released as the lead digital single from the studio album on April 14, 2009 by Universal Motown Republic Group, which also marks as her first single released from the label. Written and produced by Amos herself, just like the rest of the album, the song was recorded at her husband's studio in England, Martian Studios.

<i>Midwinter Graces</i> 2009 studio album by Tori Amos

Midwinter Graces is the eleventh solo studio album by singer-songwriter Tori Amos released on November 10, 2009, through Universal Republic Records. It is the first seasonal album by Amos, and is also notable for marking her return to a more classical, stripped-down, baroque sound with various synths, string-instruments, the harpsichord and Amos's own signature Bösendorfer piano at center stage, once more. The album, like previous releases from Amos, is available in a single form CD or a Deluxe edition which includes 3 bonus tracks, a 20-page photo book, and a DVD containing an interview with Amos. The standard edition was not released in the US or Canada.

<i>Little Earthquakes</i> 1992 studio album by Tori Amos

Little Earthquakes is the debut solo album by American singer-songwriter Tori Amos, featuring the singles "Silent All These Years", "China", "Winter" and "Crucify". After Atlantic Records rejected the first version of the album, Amos began working on a second version with then-boyfriend Eric Rosse. The album was first released in the UK on January 6, 1992, where it peaked at number 14 in the charts.

Yuja Wang

Yuja Wang is a Chinese classical pianist. She was born in Beijing, began studying piano there at age six, and went on to study at the Central Conservatory of Music in Beijing and the Curtis Institute of Music in Philadelphia. By the age of 21, she was already an internationally recognized concert pianist, giving recitals around the world. She has a recording contract with Deutsche Grammophon. In an interview with the Los Angeles Times, she said: "For me, playing music is about transporting to another way of life, another way of being. An actress does that." Yuja Wang lives in New York City.

<i>To Venus and Back</i> 1999 studio album by Tori Amos

To Venus and Back, the fifth album released by singer and songwriter Tori Amos, is a two-disc album set including a studio album and a live album. The first disc, titled Venus: Orbiting, features eleven original songs that find Amos experimenting heavily in electronica. It spawned the singles "Bliss", "1000 Oceans", "Glory of the 80's", and "Concertina". The second disc, Venus Live, Still Orbiting, is a thirteen-track album compiling live tracks recorded from her Plugged '98 tour. This is the first official live release of Amos's career.

The Night of Hunters Tour was the eleventh world concert tour by American singer-songwriter Tori Amos in support of her twelfth studio album Night of Hunters. During the tour Amos was supported by the Apollon Musagète Quartett, making this her first tour with a string quartet. As well as playing select songs from Night of Hunters, Amos played various songs from her back catalogue rearranged by her longtime collaborator, John Philip Shenale, to accommodate the string quartet.

Andreas Ottensamer is an Austrian clarinettist and is the principal clarinettist of the Berlin Philharmonic.

<i>Gold Dust</i> (Tori Amos album) album by Tori Amos

Gold Dust is the 13th solo studio album by American singer-songwriter Tori Amos, released on October 1, 2012 by Deutsche Grammophon and Mercury Classics. The album is produced by Amos with arrangements by long-time collaborator John Philip Shenale. Inspired by and following in a similar vein as Amos's previous effort, the classical music album Night of Hunters (2011), Gold Dust features some of her previously released alternative rock and baroque pop songs re-worked in an orchestral setting. The material for Gold Dust, consisting of songs selected by Amos spanning her entire catalogue from Little Earthquakes (1992) through Midwinter Graces (2009), was recorded with the Metropole Orchestra, conducted by Jules Buckley.

<i>Unrepentant Geraldines</i> 2014 studio album by Tori Amos

Unrepentant Geraldines is the fourteenth studio album by American singer-songwriter and pianist Tori Amos. The album, available on standard CD/digital download, a limited edition CD+DVD, and two disc vinyl LP, was released in Germany on May 9, 2014 by Mercury Classics and May 13, 2014 in the United States by Mercury Classics/Universal Mercury Classics. Unrepentant Geraldines is Amos' eighth studio album to debut in the top 10 of the Billboard 200.

Carry (song)

Carry is a song by American recording artist Tori Amos, released as the main promotional single from the album Night of Hunters (2011). The track was released Aug 18, 2011 as a digital download only with an accompanying video clip.

Maybe California

"Maybe California" is a song by American singer and songwriter Tori Amos from her tenth studio album Abnormally Attracted to Sin (2009). It was released as a promotional single May 19, 2009 by Universal Republic as a digital download only.

Kelly Moran is an American composer, producer, and multi-instrumentalist based in Brooklyn. Her music spans classical, electronic, minimalist, jazz, impressionist, and metal genres. In many of her compositions, Moran utilizes electronic musical techniques in combination with the John Cage-pioneered technique of the prepared piano. Moran signed with Warp Records in September 2018.


  1. 1 2 3 Jurek, Thom (September 19, 2011). "Night of Hunters – Tori Amos". AllMusic . Retrieved September 19, 2011.
  2. Night of Hunters: Tori Amos: Music
  3. 1 2 "New Tori Album and Tour". May 4, 2011. Retrieved May 5, 2011.
  4. "Tori Amos Night of Hunters Released 26 September". August 2, 2011. Archived from the original on May 24, 2012. Retrieved August 6, 2011.
  5. "Tori Amos' Official Marketing Team". Girlie Action Media, Marketing & Management. May 5, 2011. Archived from the original on September 21, 2011. Retrieved August 2, 2011.
  6. 1 2 Michelson, Noah (August 11, 2011). "Catching Up with Tori Amos". Out Magazine . Retrieved August 11, 2011.
  7. "Night of Hunters EPK". Deutsche Grammophon. August 25, 2011. Retrieved August 26, 2011.
  8. "Watch Carry Video, Listen To Shattering Sea". August 14, 2011. Retrieved September 15, 2011.
  9. "Complete Stream of NOH on NPR". September 12, 2011. Retrieved September 15, 2011.
  10. Apollon Musagète Quartett – The Official Website
  11. Archived July 14, 2012, at the Wayback Machine "Tori Amos – Prizewinner with the album Night of Hunters], Echo Deutscher Musikpreis
  12. 1 2 3 Based upon 22 reviews according to Metacritic
    "Critic Reviews for Night of Hunters". Metacritic . Retrieved September 23, 2011.
  13. 1 2 3 Tedder, Michael (September 20, 2011). "Tori Amos: Night Of Hunters". The A.V. Club . Retrieved September 20, 2011.
  14. 1 2 3 Gage, Simon (September 16, 2011). "CD review – Tori Amos: Night of Hunters (Deutsche Grammophon)". Daily Express . Retrieved September 15, 2011.
  15. 1 2 Farah, Amanda (September 23, 2011). "Tori Amos – Night of Hunters". Drowned in Sound .
  16. Maerz, Melissa (September 30, 2011). "Albums: Sept. 30, 2011 (Tori Amos, Night of Hunters)". Entertainment Weekly . Retrieved September 30, 2011.
  17. Darling, Nikki (September 19, 2011). "Album review: Tori Amos' 'Night of Hunters'". Los Angeles Times . Retrieved September 19, 2011.
  18. 1 2 Biese, Alex (September 19, 2011). "Tori Amos, 'Night of Hunters'". Metromix . Retrieved September 19, 2011.
  19. MusicOMH review
  20. 1 2 Cavalieri, Nate (September 20, 2011). "Tori Amos, 'Night of Hunters' (Deutsche Grammophon)". Spin . Retrieved September 6, 2011.
  21. 1 2 Bowes, David (September 5, 2011). "Tori Amos – Night of Hunters". The Skinny . Retrieved September 5, 2011.
  22. 1 2 Ramon, Alex (August 23, 2011). "Tori Amos: Night Of Hunters". Wears the Trousers. Archived from the original on September 18, 2011. Retrieved September 8, 2011.
  23. 1 2 Zimmeman, Peter (September 9, 2011). "Tori Amos: Night of Hunters". Glide Magazine. Retrieved September 10, 2011.
  24. 1 2 Warner, Brett (September 14, 2011). "Album review: "Night of Hunters" By Tori Amos". Ology. Archived from the original on November 20, 2011. Retrieved September 14, 2011.
  25. Hawkins, Karen (September 19, 2011). "Tori Amos: Night of Hunters". Associated Press . Retrieved September 19, 2011.[ dead link ]
  26. Dunham, Nancy (September 20, 2011). "Tori Amos: Night of Hunters". Blurt Magazine . Archived from the original on June 1, 2012. Retrieved September 23, 2011.
  27. Macpherson, Alex (September 15, 2011). "Tori Amos: Night of Hunters – review". The Guardian . Retrieved September 15, 2011.
  28. Gray, Galila (September 20, 2011). "Tori Amos Experiments With Classical Motifs". The Harvard Crimson .
  29. Chipping, Tim (September 23, 2011). "Tori Amos – Night of Hunter – a 21st-century song cycle about a shapeshifter". Holy Moly!.
  30. Godwin, Richard (September 16, 2011). "CDs of the week: Kasabian and Tony Bennett". Evening Standard . Retrieved September 16, 2011.
  31. Gray, Mike (September 8, 2011). "Tori Amos – Night Of Hunters". The Digital Fix. Retrieved September 8, 2011.
  32. Powers, Ann (September 12, 2011). "First Listen: Tori Amos, Night of Hunters". NPR . Retrieved September 12, 2011.
  33. Carnwath, Ally (September 17, 2011). "Tori Amos: Night of Hunters – review". The Observer .
  34. Siegel, Greg (September 20, 2011). "Tori Amos: Night of Hunters". PopMatters . Retrieved September 20, 2011.
  35. Berger, David (September 16, 2011). "New CD reviews: Needtobreathe, Tori Amos". The Salt Lake Tribune . Retrieved September 16, 2011.
  36. Somerville, Colin (September 20, 2011). "Tori Amos: Night of Hunters". The Scotsman . Archived from the original on September 24, 2011. Retrieved September 20, 2011.
  37. Keefe, Jonathan (September 18, 2011). "Tori Amos: Night of Hunters". Slant Magazine . Retrieved September 24, 2011.
  38. Tori Amos: Night of Hunters
  40. "Tori Amos' Night of Hunters Makes Billboard History". October 3, 2011. Retrieved October 5, 2011.
  41. "Archived copy". Archived from the original on July 9, 2011. Retrieved June 28, 2014.CS1 maint: archived copy as title (link)
  42. 1 2 3
  44. "Archived copy". Archived from the original on April 26, 2014. Retrieved April 25, 2014.CS1 maint: archived copy as title (link)
  45. "Oficjalna lista sprzedaży – OLiS – Official Retail Sales Chart" . Retrieved October 7, 2011.
  46. "Archived copy". Archived from the original on November 19, 2010. Retrieved March 13, 2011.CS1 maint: archived copy as title (link)