fiona apple - fetch the bolt cutters (2020)

just on shameika and feeling likewise

wrapping up the last few tracks now. "relay," "newspaper," and "heavy balloon" have *really* grabbed me on first listen but honestly the whole thing is just overwhelming and fascinating and i can't wait to spend more time with it. i feel like it took me months if not years to really appreciate idler wheel so...

god all of this percussion is so great

this album is metal as fuck, in that it sounds like it was screwed together at a workbench

industrial music

Assuming this will pop up on streaming tonight? I'm so anxious to hear this.

newspaper is industrial as hell

Does any of it sound like the first 2 albums?

first track kinda did maybe? but it basically follows the idler wheel's stripped down approach into straight up percussion collage. it fucking rips

+ ghost choirs

what in the fuck is "newspaper" btw

I'm sure it'll be cool but also I miss Jon Brion

not sure i'll hear a better song in 2020 than cosmonauts

album of the year, no one on her level

it sounds like it was screwed together at a workbench

― mellon collie and the infinite bradness (BradNelson),Thursday, 16 April 2020 16:31 (fifty-two minutes ago) bookmarkflaglink

i can't think of any other records that sound both as compositionally crazy and rawly handcrafted as this does

kick me under the table all you want
i won't shut up

Can’t wait to hear this!

this is averaging 4.41 from nearly 200 ratings on RYM, almost unprecedented. yeah obv it's mostly the headz and stans thus far but such a rating is still remarkable. you all seem to be quite excited as well. will have to listen

From one listen -- almost a totally new sound. Beat music.

"relay" is so wild i love it

it's like this fully percussive thing and then bam, upright bass and guitar scratching, then voices hanging in silence

about to download

Need to wait for a headphone listen to fully judge. It'll hit streaming at midnight of course.

maura's review of this is great and very otm https://www.bostonglobe.com/2020/04/16/arts/fiona-apple-makes-defiance-sound-exhilarating-fetch-bolt-cutters/

Any word of a physical release?

imago, it’s probably because i had them on yesterday but cardiacs did come to mind a couple times while i was listening

Dare I ask where y'all are hearing this

it leaked, it'll be streaming in a few hours, ymmv

damn this is really something

exhausting, in a good way

i'm in love with everything her voice does in "ladies"

Shameika said I had potential!

amazing that she’s still finding miraculous new textures with her voice

Really excited for this!!!! Based on the reviews I have read so far it seems to be her less accessible out of all of her albums, which makes me even more amped up for it, since some of my favorite songs from her are the ones that hit you out of left field!

the only field is left

holy fuck @ her vocal in "Holy Balloon."

oh my god "newspaper"

Wow this is fantastic. On first listen I reckon this could end up my favourite Fiona alongside When The Pawn.

The sound/approach reminds me a lot of early Veda Hille.

It's my favorite Apple already

finally, Fiona Apple songs I can put on a workout playlist

this album is fucking great and i got to review it

and it's a damn fine review

damn this is good. thanks y'all for putting me on to this.

thanks alfred :)

Feels like 2011 wasn't that long ago! So she has a rate of a new album every 6/8 years.

holy shit this record

10.

The overall sound is interesting, sounds like the 21st century version of the lo-fi, diy album that doesn’t suck.

As usual the best part is how percussive Fiona Apple loves her arrangements.

haven't heard it but Pitchfork giving a Fiona Apple album a 10 in 2020 is something I can get behind

Practically everybody has heard "Let's Stay Together" without necessarily seeking it out.

the vocalizations on this album, which I think it's entirely fair to call experimental -- particularly given that they're compared to Meredith Monk and Yoko Ono, both of whom make experimental music.

al green also very comparable to yoko then.

Anything can be compared to anything if you want to badly enough. Ch_ck E))y made a whole career out of it.

i'm just saying that if we're using the fifteen second performance at the end of the first track as a basis for labeling things "experimental", then we're going to need to redefine a lot of other things.

this reminds me of when the roots released phrenology and some people were writing off the entire album because of a thirty second bad brains homage and they didn't want to hear that on a hiphop record.

The article itself called the 10 seconds at the beginning of the first track "experimental."

huh, sounds like joni -another person who has made mounds of stupidly popular records- to me.

Not the vocals; the looped percussion sample before the piano comes in.

I said this upthread but this album is mixed and mastered really really really loud and I think that fact can attract and repel certain people in equal measure and find them using the word "experimental" as a proxy for "it is really loud"

yeah maybe it’s tin foil but seems like vocals are recorded/mixed differently others days )on pop/rock records esp) in a way I really can’t handle

differently “these days” ugh

xp -- there are a lot of people with idiosyncratic styles of singing, and a lot of people turned off by that.

See Alanis Morrissette's entire career for instance

see the dave matthews thread

Is 2020 the year of the great DMB reassessment?

was 2018 just the preamble?

"We've reassessed Dave Matthews and... he is still corny as fuck!"

Just listened to this---deluxe edition on youtube---for the first time, after a lot of things by and including Robert Wyatt, also Shelby Lynne's 2020 s/t---and I'm stuck by the compatibility: small group, bass, percussion, keyboards, usually piano, which is what seems like the main writing instrument, for a freewheeling yet instantly recognizable style---depplyed,in Apple's case, for challenging and sometimes(?) lavishing the object of her attentions with self-expression and "idiomatic to idiosyncratic but clear enough" results, as I said about Lynne's album---and maybe Apple's learned something from jazz, like the other two (upthread, she's quoted re Miriam Makeba, and I get some of that too, also the oblique strokes of xpost non-standardbearers Kate Bush and Joan Armatrading)(Tuneyards, or some of the same sonic sensibility, although Apple came first, recording-wise). Nevertheless, she's got her own agenda, own axes and axis, as always.
On first listen, her music seems like it's in good shape---still tensile, even robust in its lean way, despite and maybe because of some more allnighters now and then and again and again---a driving and driven quality in there, but her own kind of discipline, pace---not quite like anybody else, despite the comparisons (though I would not have been surprised if she hadn't lasted very long, but then I ditto re Jerry Lee and Little Richard). But---is it basically just more of the same, of a good ol' artist we're glad to get more of? If so, does it "basically" matter?? Considering that she, the musical persona and creator, *isn't* quite like anybody else, oh hell no: that nobody else, even from the small convergence I've mentioned, will quite do as substitute---but I wonder if I will listen to this, incl. in memory, as much as I do these other (more prolific) artists, or did listen to her previous albums---years ago, with all those years between them, and this one too: does that matter, momentum and impact-wise? As long as she seems to be more about holding the fort than breakthroughs--although who knows what kind of offstage breakthroughs it might have taken for her to get this far.

the vocal arrangements on "newspaper" >>>>>>>>>>

it definitely qualifies as some kind of breakthrough from the close attention it's received, irrespective of quality or innovation or consistency relative to her previous work. it's a really good album, I wish that was a good enough hook for critics who feel the need to exaggerate how unprecedented and avant garde it is

I used to get a lot of shit from indie types for liking her (and other mostly dissimilar women who were grouped together), I assume at least some of the hype from these circles is motivated by a need to redress years of that bullshit

some of the more negative reactions elsewhere are a bit "i'm the only person brave enough to admit beyonce sucks" which is tedious

The person who posts as mostly dylan on Twitter has this list of personnel on new Dylan album, which supposedly will incl. FA (and Blake Mills) as additional musicians, if it doesn't show up below:
https://pbs.twimg.com/media/EatdRdOWAAERL5L?format=jpg&name=medium

How is this holding up for everyone?

splendidly. just waiting for my vinyl.

It's still good, but I burned out quickly

Still great but that Pitchfork review has aged extremely poorly, as was always likely.

I love Tidal which I suspect is her only good album

I was never a fan previously, but I think this is strong and fresh and I love how confident she is with her powers. It’s also gone over very well with my 18yo daughter and consequently I like how few fucks Apple gives about image and knowing her place.

It’s still great

got the vinyl! hooray! good thing my stereo's in storage!

d`oh

Tidal which I suspect is her only good album

― this has been the best year fuiud (rip van wanko), Sunday, July 19, 2020 4:47 AM

also ya, no

I hadn't listened to this before today not because I didn't think it would be any good but *because* I knew it would good and was just waiting for the right day. And hey, it's really good!

after the dust has settled, "heavy balloon" is *easily* my favorite track on this.

mine too

It's difficult listening to this album; it reminds me of the first stage of quarantine, i.e. April.

I think it's better for that; a reminder that awesomeness can still exist.

Yep, same as you, Al

https://www.youtube.com/watch?v=kT4SZiEgJ_g

live versions!

Thanks. She’s an incredible live performer.

An amazing interview/story with the real Shameika and her reunion with Fiona: https://pitchfork.com/features/article/fiona-apple-shameika-fetch-the-bolt-cutters-interview/

She turned out to be a rapper so of course they collab'd: https://open.spotify.com/track/5IelFDwkj5eJEnTSfwroxa?si=mlk-AyQHQuKY3R14anvdCg

And there's also a video now for "Shameika":

https://www.youtube.com/watch?v=yM63Tzv-uZg

Love that they were reunited by their New Yorker-reading 3rd-grade teacher.

really glad this worked out in the best way possible

(although a bit surprising that she was a public figure but nobody put the pieces together before now?)

beautiful story, glad they were able to reconnect.

This fixes all the issues I had with "Shameika"

ayo real talk: if you don't like this album, how does it feel to be objectively wrong?

this album is metal as fuck, in that it sounds like it was screwed together at a workbench

― mellon collie and the infinite bradness (BradNelson)

There’s also a seething rage through the whole thing - even in the “sweet” ballads such as cosmonauts - that makes it sound heavier than most metal albums I’ve heard. I haven’t heard this album a lot because it feels like a bad influence to me. Whenever I truly connect with it, it makes me want to burn the world to the ground.

It reminds me of Rain Dogs in that sense but this one feels more wore down and old and angrier.

Such a landmark album. I can’t listen very often because it’s too real and can’t be backgrounded.
I don’t even know how to say this and I feel sure it will sound weird or patronising or just off somehow, but - I gave this album to my ex wife as a gift, because I knew she had a lot of unexpressed anger about me leaving, and I wanted her to know that I understood that and respected it. She loves the record fwiw.

Did she not do any live performances at all? This album sounds like it could be pretty good live but I don’t see evidence of her doing any live performance after 2017.

All I could find is her performing three songs for the New Yorker festival.

it released during covid and she hasn't toured since, though she said in an interview at the time that she wanted to tour once things opened up again. last year she said she still really wants to tour again but her mental health really isn't up to it right now.

she played "ladies" and "i want you to love me" on her 2013 tour with blake mills though