I like to think that Tanita will follow the route of several musicians on the fringe of popular music, such as David Sylvian, and begin recording and marketing her music directly from her own site through her own label.
It isn't difficult to determine which elements on any given Tanita album are the result of concessions made to some notion of mass appeal, the polished production and oh-so-1980's electric guitar work on The Sweet Keeper, for example, or the financial limitations imposed on recording of Eleven Kinds of Loneliness (which, in places, is very raw and hurried). The tension between Tanita's more exploratory tendencies and the demands of popular appeal are probably most evident on The Cappuccino Songs (where the moodiness of Amore Si sits so uncomfortably next to the silly pop of If I Ever), and I've never been much of a fan of the attempt to turn Twist in my Sobriety into the next Everything But The Girl disco crossover smash. As if Liza Minelli's version of the song wasn't enough torture!
Perhaps a more independant route would be beneficial. In my opinion, Everybody's Angel, Eleven Kinds of Loneliness and Lovers in the City, which seem to have made the fewest concessions to popular expectations, seem to hold up best as albums.
