Tori Amos has described her songs as arriving visually since the beginning of her career: structures of light, filaments, and color that she watches and transcribes, an account she has repeated in interviews across decades and expanded in her book Piece by Piece. She describes the visual form of a song as guiding its arrangement, with the music finished when it matches what she saw.
Her language is more architectural than most chromesthetes’ (light structures rather than simple color washes), which makes her a frequently cited example of how differently the same trait can present.
The case is self-described, long-running, and internally consistent, with the usual caveat that it rests on testimony rather than testing.