(CNN) -- "I'm very at home working with mythology, " Tori Amos says.





No kidding.





Amos' newest album, "Night of Hunters," is a fable about one woman's lost love and the emotional journey over the course of a night that helps her let go of a man and recapture her fire. Along the way, she meets a shape shifting fox named Anabelle who acts as her guide to help navigate her through the predatory forces that lie within and around us.





While "Night of Hunters" uses Amos' familiar themes of spirit guides, magical elixirs, forces of nature and reclaiming female power, making this album was a new undertaking for her. Instead of the electronic sound and production that marked her last few releases, "Night of Hunters" is stripped and essential. Amos returned to the piano and used the classical music format of a song cycle, where there is a common theme to the collection of songs and they are intended to be performed in sequence, to present her supernatural tale.





Twenty years after her groundbreaking solo debut, "Little Earthquakes," Tori Amos talked to CNN about the irony of her getting kicked out of classical music school, women's sharp and deadly tongues and why she has no desire to be 30 again.





CNN: "Night of Hunters" is such an elaborate concept album. How did this story unfold, not just musically, but in your own head?





Amos: I was traveling about a year ago through Europe and the one thing that I began to hear from people is how much their lives could change in a day. Really what this is about is a woman's psychological experience and the shattering of a relationship. It's about her emotional breakthrough that happens from dusk 'til dawn.





I've been working on a piece for the National Theater for, like, 5,000 years, but that's different because you have scenes with text. Song cycles work on a poetic level, not like a play or musical. I wanted there to be a poetic level to this (album), where the poems come to life, and the emotion, but the plotline isn't necessarily in the songs themselves. For a song cycle to work, you have to feel these things when you hear them and you either have an emotional reaction to it or you don't. The plotline is something that gets woven together in the backstory.





But when (classical music label) Deutsche/Grammophon approached me and said, We heard you're working on this musical, what about if you did a 21st century song cycle based on classical themes? I said, "What about if I (don't)?"





CNN: You obviously came around.





Amos: Yeah, but I mean, Jesus Christ, it's a tall order!





CNN: Weren't you kicked out of the Peabody Conservatory when you were 5 for being too radical and not adhering to their classical norms?





Amos: Yeah, that's kinda funny. It's true.





CNN: You hadn't thought about it before?





Amos: I have, but it's true. I was kicked out because they didn't think I could embrace the classical path. The dean that is there now has reached out in the last few months to my dad and has said that the Peabody is a very, very different place of learning than it was in the '70s. It would need to be because they weren't anywhere near where Deutsche/Grammophon was and this is one of the greatest classical places of all time.





CNN: The musical you talked about for the National Theater is 'The Light Princess,' based on the book by George MacDonald?





Amos: It was, but we changed it because our story became very different.





CNN: What happened? Are there any aspects that remain?





Amos: She floats. That's about it. I didn't really like her in the book. I felt it was from a man's perspective and I had no idea about how she felt that she
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