From the Choirgirl Hotel offers chewy tales like the tough sway of 'Playboy Mommy,' in which a mother never quite apologizes to her dead daughter for not being a squeaky-clean Carol Brady mom; and 'Black-Dove (January),' an interiorized ballad about abuse and escape that breaks into rousing choruses of 'But I have to get to Texas/Said I have to get to Texas.' What the album is so unfailingly good at, though, is capturing the exact geography of one woman's imagination. In dashing rhythmic interpolations, a song titled 'Iieee' intercuts different meters and moods — suspended piano landscapes, straightforward rock 4/4 beats, gnarled industrial wastelands and a floating symphonic soundtrack from a film that has opened only in Amos' head. 'We scream in cathedrals,' Amos sings, phrasing with an awesome gravitational pull. 'Why can't it be beautiful?'

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Transgressive hairstyles? Electric beats? Platform shoes?

At any given time, it's all or none of these things. But right now, From the Choirgirl Hotel qualifies. It's a logical outcome of what Tori Amos has been doing this whole decade: In more ways than one, she screams in cathedrals.