She handed out tissues when their mascara ran (Little Earthquakes), nursed their broken hearts through hundreds of doomed high school crushes (Under the Pink) and got them through long nights pouring over Kant (the philosopher, okay?) at varsity (Boys for Pele).
Well, step aside ladies because at last Tori has realised that it's as much fun to tease, toy with and ultimately rock the male members of her fan base as it is to castigate and castrate them.
The first clue is that album cover. Oh, brother, what have we here? Gorgeous glam-Tori in jet black nail polish clutching one of those Eyes Wide Shut masks and striking a come hither pose that would make even squeaky clean Tom Cruise veer off the Scientology straight and narrow. The music fuels the non-stop erotic cabaret from the outset as the opening salvo "Give" blasts Tori's post-Siouxsie siren call over sex-drenched bass stomps and booty-haunting trip house-y keyboard swathes. And it gets better.
On "Strong Black Vine" Siouxsie's banshee wail and Bjork's big time feminine sensuality rub up against some of the smuttiest rock riffs since Led Zeppelin talked dirty on "Black Dog". Then there's "Lady in Blue" a dark and sultry trainspotter's cocktail that blends all the slutty intrigue of David Lynch's Blue Velvet with just enough of bruised jazz siren Billie Holiday's heartbreak.
Relax, girls. You get to listen too, for a toasting of sweet electro pop bliss on the Kate Bush haunted "Welcome to England"... just so long as you don't expect to keep your clothes when the kinetically kinky title track gets its trip hop groove going.