Welcome back, Tori. After ? over the space of four albums ? transforming herself into 12 strange little girls, walking across America, taking up beekeeping, and transforming herself (again) into five other women, she's back. No bonkers concepts. No bizarre, affected vocals. No hiding behind masks. Just a singer and her songs.

Combining that unmistakable piano foundation with electronic touches from 'To Venus and Back' and the directness of her unflinching early work, a real sense of relief permeates Amos' tenth album.

Admittedly, with 17 songs running over 72 minutes, she's still not learned much about self-editing. The subject matter remains weighty: organised religion, male-female relationships, the nature of sin. And the musical eclecticism suggests that the voices in her head haven't shut up just yet. But this typically headstrong, typically unique collection is, untypically, what you might call almost focused.

With echoes of 'Cornflake Girl' attitude, radio-hit-in-waiting 'Welcome To England' brings the sun ? and a killer chorus. The one on the get-up-and-go '500 Miles' is even better, Amos clearly relishing her newfound freedom.

Less celebratory, more assertive, the lavish 'Strong Black Vine' adds a dark '70s classic rock edge, while 'Give', with a loping Portishead groove and vampire obsession ventures even further into the shadows. The similarly hypnotic 'Flavor' seduces with very little, but of the more reflective moments it's languid piano-and-strings heartbreaker 'Maybe California' that's most irresistible.

Less so, despite a charming 'Graceland' riff, is the loose-limbed but aimless 'Not Dying Today' ? just one of the tracks that never reach their full potential. 'Fire To Your Plain' may be bouncy but lingers in purgatory, 'Starling' takes way too long to soar, and ? from its title to overwrought orchestral arrangement ? 'That Guy' is Amos at her most mundane. None belong here in their current forms.

Amos may be abnormally attracted to sin, but she must learn to exert more self control.