I have been forcing myself to get into bed by midnight every night. I might not fall asleep immediately, but I am there, mostly tucked in and ready for the cuddle that isn’t coming. Haha.
Tonight I am listening – for the first time in ages – Tori Amos‘s Boys for Pele. I had a bunch of Shiseido stuff sitting on my kitchen table for some reason, and I can’t hear or see the word “Shiseido” without thinking of the lyrics from “Muhammad My Friend“:
“And on that fateful day, when she was crucified, she wore Shiseido red, and we drank tea by her side…“
This is, incidentally, the only reason I am listening to this album, even if there are other bits of it that resonate with me still. Tori Amos is a very 1999-2000 thing for me. A transitional cache of music that carried me through the end of a relationship (that seemed unequivocally adult at the time, but reflecting, I see I was little more than a child in many ways – as he’d said, “You are two years old – maximum!”) and saw my decisionmaking take twists and turns that seemed illogical at the time but have slowly led me to where I am now.
I was never one of the rabid fans, didn’t jump on board right away during the heyday that followed Tori’s first two albums. It was later, looking for CDs (you know, when CDs were a thing) in a Borders (you know, when Borders was a thing) bookstore (erm, yeah, uh, you know when bookstores were a thing!) in Kahului, Hawaii, to serve as the soundtrack of our driving around Maui for a week. I found only Tori CDs and decided, despite having lukewarm feelings about her music, these would have to do. They struck a nerve for me, forever tied to that summer of intertwined endings and beginnings. The Maui sun, the tying up loose ends on the master’s thesis, the summer-long departure for a dreadful European bus trip (it was even worse than that sounds, despite all the things I saw and experiences I had). The culmination of it all in Iceland – the first time in my life that I felt like I was exactly where I needed to be. Driving from Akureyri back to Reykjavik with Anna in the middle of the night at the end of Verslunarmannahelgi weekend through the thickest fog I have ever seen – trying not to hit an errant sheep and stay awake while blasting Tori’s Under the Pink.
Tori Amos was the soundtrack of these transitions – but by 2005 I did not care any longer, and The Beekeeper is the last album I am conscious of seeking out. By then, it was all just treading old ground, and if you know me, you know I don’t like doing that.