In 1996 Tori Amos suckled a pig to her breast for the front cover of Boys for Pele. Now considered iconic of her enigmatic, rebellious era – the controversial image is a far cry from 2011’s safe, even prudish Tori. Wade through tales of spiritual enlightenment on Scarlet’s Walk and the self-exploration of American Doll Posse, and the explanation for this change is simple enough. In September 2000, Tori Amos became a Mother.

On Night of Hunters that definition is more important than ever, mainly because Tori shares studio space with her daughter Natashya Hawley. But this isn’t a family car crash. The maturity of the eleven-year-olds vocal is frankly baffling, challenging any critic that accepts the ‘wisened’ lyricism of a singer-songwriter in their late teens. Sitting somewhere between the call of a witch and the marmite gnarl of Joanna Newsome, Natashya promises a spectacular addition to Tori’s legacy. Songs like ‘Cactus Practice’ and ‘Snowblind’ are enchanting but immediately accessible because of the child-like mannerisms that remain with Natashya. Better yet the innocent quality to Natashya’s voice transforms ‘Job’s Coffin’ into a macabre fairytale, full of the type of sorrow Tori is no longer capable of portraying herself.

Unfortunately this collaboration blemishes Amos’ performance. By comparing herself to her child, Tori has inadvertently drawn attention to her own dwindling sense of adventure. Too often the partnership echoes eager child and jaded teacher, instead of protégé and prestige. The concept of a “21st Century album inspired by classical music themes” is diminished by a recollection of fantasy tales before bedtime. The perfect example of this, ‘Fearlessness’ is a clean cut lesson in reservation, when it could have been Night of Hunters’ ‘Icicle’.

Even the orchestral scope of Tori’s talent has been affected by her need to contain the siren within. Though cinematic and often touching, the instrumentation on Night of Hunters ultimately fails to take flight into the unreserved passion of ‘Beauty Queen/Horses’.

Essentially Night of Hunters confirms Tori Amos has departed from the land of vulgar for pastures maternal and retained. We’ve had time to come to terms with this conversion, but the notoriety of Tori’s earlier career continues to rebuff her status. Long term fans will be disappointed that the album doesn’t at least err towards her former glory, and new listeners will find few memorable moments from the recording artist herself.