Fiona Apple Remains Mellow On Extraordinary Machine . . . Surprised?

The Good: Developed, orchestral sound, Voice!, Lyrics
The Bad: A couple of the tracks are surprising duds
The Basics: Not exactly music for cheery people, Extraordinary Machine continues to develop Fiona Apple musically, with some lyrical fun.


Somewhere along the way, without me making a conscious choice in the regard, Fiona Apple became an artist whose works I pick up when she makes a new album. Recently, I bought her second album and the moment Extraordinary Machine was released, I purchased that. I guess I've been in a funk and Apple is remarkably good for keeping one in an emotional rut if they want to stay there.

Extraordinary Machine is Fiona Apple's third studio album and it seems the next logical step after her amazing debut Tidal and the slightly more produced When the Pawn . . . Extraordinary Machine continues in that vein with Apple's songs having more full music behind her. For example, the title track which opens the album has a full orchestra behind it and there are recognizable strings and bassoon. This is a far cry from the woman who ruled Tidal with her piano and voice, for the most part alone.

This is not to say that the instrumentals are bad or distract from Apple's talent. No, unlike "When The Pawn . . .," there is the re-emergence of Apple's voice as musical instrument. "Parting Gift" and "Better Than Fine" are good examples of songs that use Apple's voice on the same level as a musical instrument. Unlike her second album, though, the instruments seem to compliment Apple's voice rather than supersede it. Moreover, in the interest of full disclosure, "Parting Gift" does sound like it could have been on Tidal.

What is a definite sense of growth on Extraordinary Machine is Apple's lyrics. She actually unwinds and has some lingual fun on this disc. For example, "Get Him Back" plays with the three simple words in the title. Apple uses it to mean "get revenge" and "recover" and the skipping poetics of the song make it a pleasure to keep up. For those unfamiliar with Fiona Apple's works, much of her lyrics are somber. She does not spend much time on Extraordinary Machine being unambiguously happy. Far too often, there are conditions. Even in the title track, Apple sighs "Treat me nice or treat me mean" she's just going to take it because she can.

But far more meaningful is how much of Extraordinary Machine is about revelations and realizations. And they often have to do with breaking up. A great example is this from "Parting Gift:"

I took off my glasses while you were yelling at me once
More than once
- So's not to see you see me react
Should've put 'em, should've put 'em on again
- So I could see you see me sincerely yelling back
I bet your fortressed face
Belied your fort of lace
- It is by the grace of me
You never learned what I could see

Oh, you silly, stupid pastime of mine . . .

This is what happens when we have artists in pain with poetic ability doing the writing and performing: they can sell it. They can express themselves and wrench us. Fiona Apple does both quite well. She's a pro at expressing pain and drawing us in with it.

The only real drawbacks of Extraordinary Machine come in the forms of two tracks. How "O' Sailor" became the first single off this album will puzzle me until I can ask someone close to the project. It's almost the least interesting song Apple has done and it's a mystery to me that this would be the track The Powers That Be would think would sell the album. Even more baffling is why the video for the song is not on the dual disc.

The other track, "Red red red" which - I kid you not - follows "Please Please Please," is possibly Apple's poorest track. It is musically uninteresting and were it not for the concepts her lyrics explore and her voice, the song would be a severe disincentive to picking up this album. As it is . . . well, I have to say it's refreshing to hear an artist singing about how unremarkable diamonds are.

As for the dual disc aspect, the b-side of the disc (the DVD side) has some nice performances by Apple at Club Largo and they are pretty nice. It's cool to get a mini-concert. One of the nice things about it is that includes songs from both Extraordinary Machine and When The Pawn. . . As well, Apple's previously unreleased track "River, stay away from my door" is featured in that concert. Also, there is the music video for "Not About Love," which is good but Apple's disclaimer at the opening undermines the shock and coolness of the concept. Too bad.

Who will enjoy Extraordinary Machine? Anyone who likes a strong female artist with a deep connection to blues and jazz, delivering pop-rock. Sort of. Anyone who likes clever lyrics and a musically diverse album. If, however, one is expecting this to be Apple's explosion into popularity or a strong push forward in her quality, they are likely to be lukewarm in their reaction.

Why? Some of Apple's obvious vocal talents get murked up, even on some of the better tracks. A perfect example is in Extraordinary Machine, Apple goes soprano and the effect is more shrill than musical. Gone is the articulate soprano of Tidal's "Never Is A Promise." So, there are some steps back.

Still, it's better than anything else one is likely to hear on the radio these days. And the dual disc is definitely worth it for the video for "Not About Love" alone; the cost is not significantly different. The best track is the angry "Parting Gift," the weak track is "Red Red Red."

For other Fiona Apple works, be sure to check out my reviews of:
Criminal (single)
Tidal
Across The Universe (single)
When The Pawn . . .
The Idler Wheel . . .

7/10

For other music reviews, be sure to check out my Music Review Index Page for an organized listing!

© 2012, 2006 W.L. Swarts. May not be reprinted without permission.

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Only The Most Die-hard Fans Will Truly Want The "Criminal" Single.

The Good: Two great songs, live version of "Sleep To Dream" is exclusive
The Bad: Drastic underuse of medium, Nothing truly unique
The Basics: Underusing the c.d. medium, Fiona Apple breaks onto the music scene with the single "Criminal" which is good, but not indispensable.


For all of my love of the music of Fiona Apple, I am discovering that she has some of the same problems as virtually every other musical artist producing in that her singles offer little real value to listeners and collectors. For sure, I love the music of Apple and she is both creative and vocally and poetically talented, but when it comes to selling singles, she is not the most prolific artist and she does not put out much material to inspire those who are interested in her music to buy her singles. I find myself considering this as I consider the c.d. single to "Criminal," which was part of a giant donation of c.d.s my local library got and I've had the pleasure of filtering through as I look to expand my collection (and help my local library out).

"Criminal" was arguably Fiona Apple's biggest hit song and it came from her debut album, Tidal. The fundamental problem with this single is not that Apple uses two cuts from Tidal - she does, but with a variant - but rather that because the two tracks are available on Tidal and the variation is hardly an incredible difference, the listener gets more value by buying the full album as opposed to this disc.

With two tracks occupying 10:17, "Criminal" is a c.d. single which drastically underuses the potential of the compact disc medium. In addition to the album cut of "Criminal," the single includes a live version of "Sleep To Dream," the song which opened Apple's debut album. However, this is largely the musical vision of Fiona Apple. Apple wrote both songs and she plays piano on both tracks. As well, she provides the lead vocals on each song; the only thing she was not directly involved with was production, which is not surprising when one considers this came from her debut work and was her first single.

That said, for those who have not heard the works of Fiona Apple, she is very much the pop-rock style of "one woman and a piano," like Tori Amos. This style is very much accented by the "live" nature of "Sleep To Dream." Stripped of the produced tympanies, the piano carries the song instrumentally and it makes the song sound even more stark than the album original. But the single is not truly musically sparse; "Criminal" is richly produced blending deep piano with energetic percussion for an upbeat sounding pop-rock number which actually rocks.

Vocally, Fiona Apple is a masterful soprano who has exceptional range. So, when she enthusiastically growls through some of the most difficult lines of "Criminal," she goes into the lower ranges, but for the refrain, she is high and beautiful. In "Sleep To Dream," her voice is simple, true and beautifully articulate. She illustrates a flawless soprano voice that is easy to listen to and enjoy.

For those who might not have heard "Criminal" when it dominated airwaves in the late 1990s, this is Fiona Apple establishing herself as a fearless, strong and yet vulnerable artist whose lyrics seek redemption. The topic of guilt is rarely focused on in pop-rock and yet Apple does so with amazing poetic lines like "Heaven help me for the way I am / Save me from these evil deeds before I get them done / I know tomorrow brings the consequence at hand / But I keep living this day like the next will never come / Oh help me but don't tell me to deny it / I've got to cleanse myself of all these lies 'till I'm good enough for him / I've got a lot to lose and I'm bettin' high so I'm begging you / Before it ends just tell me where to begin" ("Criminal"). The song actually rocks and those who do not traditionally like female pop-rock artists are more likely to enjoy the rich sound and poetic verses of Apple on "Criminal."

But what many people view as a one-hit wonder is not the case and "Sleep To Dream" is a great example of how Apple has more songs in her than just "Criminal." When she sings "This mind, this body, and this voice cannot be stifled by your deviant ways / So don't forget what I told you / Don't come around I got my own hell to raise" ("Sleep To Dream") she establishes another strong female vocal persona and she carries it credibly. The live version of "Sleep To Dream" is a real treat for listeners.

. . . But it is also not the most audacious direction Apple could have gone with her single. "Sleep To Dream" was never one of the most produced songs, so the live version has interesting aural differences from the original, but it is not honestly offering listeners something truly different or unique. Most fans will be able to live without it. And for those who aren't into Apple yet, Tidal is a great place to start, more so than this.

For other Fiona Apple works, be sure to check out my reviews of:
Tidal
Across The Universe (single)
When The Pawn . . .
The Idler Wheel . . .

4.5/10

For other music reviews, be sure to check out my Music Review Index Page for an organized listing!

© 2012, 2009 W.L. Swarts. May not be reprinted without permission.

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Indistinct Apple, With The Idler Wheel Fiona Apple Creates Her Least Memorable Work.

The Good: Moments of voice, One or two stray lyrics
The Bad: Utterly indistinct track to track, Musical experiments that fail, Bonus DVD is a huge letdown, Musically unimaginative
The Basics: The Idler Wheel might have a delightfully long title, but it glosses over a shocking lack of substance and growth for Fiona Apple.


I am a big fan of both long album titles and Fiona Apple. So, when she finally released her new album, The Idler Wheel Is Wiser Than The Driver Of The Screw And Whipping Cords Will Serve You More Than Ropes Will Ever Do, I was encouraged to spend money on new music for the first time in a long time. In fact, the moment I learned it existed, I became determined to get the deluxe version of The Idler Wheel (as it is commonly abbreviated). So, I did and when it arrived in its notebook packaged, I was still very excited.

I am fairly sure that Fiona Apple has not let me down before like this, but with The Idler Wheel it is very hard not to feel utterly disappointed, especially with the “deluxe” version. The Idler Wheel, in short, is the least distinct album of Fiona Apple’s. For sure, we have had years with her other three albums and assorted singles, but even on the first listen of her other albums, there were tracks that stood out, that would not be denied and forced the listener to fall in love with them or acknowledge their greatness. On The Idler Wheel there are no such tracks.

To be clear, I am a fan of Fiona Apple’s works and I suspect that (despite being a little afraid of how thin she is in the footage on the DVD) I might enjoy seeing her live. At least, I might have, before The Idler Wheel. The deluxe version of The Idler Wheel includes a DVD (no bonus musical tracks) that features five tracks performed at a music festival. That footage revealed a stage presence for Fiona Apple that is . . . just ghastly. She performs on the bonus DVD with so little energy or enthusiasm or sense of engagement with the audience that the drummer and bass players draw the eye more. They at least look like they are having fun or are affected by the music; Apple looks like she’s struggling to remember her own lines (which is pretty bad on “Sleep To Dream!”).

To be fair to Fiona Apple, the crowd at the music festival at which she was performing on the DVD looked (and more importantly, sounded) particularly subdued. I suppose it would be hard to perform in an energetic way or way that made you want to connect with the audience if they are simply standing there looking bored. The counter to that, of course, is that maybe that would not be the bonus footage one releases with their new album (i.e. pick a performance where you clearly rocked and your audience responded that way).

Back to the album. Fiona Apple had snuck into my pantheon of artists whose works I would buy without actually listening to the album. Usually, I only keep four artists in my pantheon with that status, but Apple snuck in when I wasn’t looking. Now that I am, The Idler Wheel reminds me too firmly why I have that standard. The Idler Wheel sinks largely because it lacks distinction. The tracks flow one into another in a way with such close musical and vocal performances as to make it such that, as one listens to the album on repeat over and over again, the tracks blend together without any clear moments that stand out. That is not entirely true, though, but the distinct moment on the album does not help The Idler Wheel. The first track on The Idler Wheel does feature something different that we haven’t heard from Fiona Apple before, a series of long notes that Apple holds, but punctuates (glottal stops, perhaps?) with drastic and dramatic note changes. Unfortunately, while she is trying something new here, the result is just not good. It sounds like one might expect a person singing through a torture session might objectively sound like.

In some ways, it is a relief that the album sinks into mediocrity after the failed attempt at a new and different sound. Still, for $14.99, I’d like something good.

With only ten tracks occupying 42:39 on the c.d., The Idler Wheel is, at best, an anemic endeavor that leaves those who waited years for the new Fiona Apple album understandably underwhelmed. As with her prior endeavors, The Idler Wheel is distinctly the work of Fiona Apple. Apple wrote all of the songs and provides the lead vocals on each track. In the deluxe version, Apple is not clearly credited with playing any instruments on the album and she is not credited with producing the album either.

On the instrumental front, this is very much what one expects from a Fiona Apple album. Piano, bass, and percussion driven, all of the instruments take the back seat to the vocals. On The Idler Wheel there are no musical moments that stand out from the instrumental accompaniment. There are no distinct, hummable tunes on The Idler Wheel and it is unsurprising to me that I haven’t heard a single from the album before now. All of the instrumental accompaniment is that; muted, subtle support to the vocalist. The music on this album never shines, stands out, or becomes otherwise distinctive (on the DVD this is accented when one hears “Fast As You Can” and “Sleep To Dream” alongside three of the tracks from The Idler Wheel!).

Vocally, The Idler Wheel falls well within the range of what Fiona Apple has presented on her three prior albums. The two exceptions are the vocal skips and leaps in “Every Single Night” and a strong sense of vocal strain in “Regret.” “Regret’s” use of Apple singing scratchier pounds home the song’s theme and it works. What works as well is the strong accompaniment in “Hot Knife,” which gives the song an almost a capella sound and feel. Beyond that, Fiona Apple presents the other songs with exceptional range, decent clarity and little variation between the tracks.

Lyrically, The Idler Wheel is short on great lines. That is not to say that it’s all bad; there is just less in the way of poetics than Fiona Apple fans might expect and (reasonably) demand. The distinctive lines come in “Left Alone” when Apple sings “I don’t cry when I’m sad anymore, no, no. / Tears calcify in my tummy / Fears coincide with the tow / How can I ask anyone to love me / When all I do is beg to be left alone.” And it is appropriately heartwrenching.

The imagery in “Werewolf” is decent as well and when “Periphery” opens with the lines “Oh, the periphery / They throw good parties there / Those peripheral idiots / Always have a bite to bear” it is hard not to acknowledge it as clever. But even the most clever and imaginative lines in “Anything We Want” get jumbled and eventually buried by an unfortunately droned refrain. In that song, Apple ventures into musical storytelling with results that are initially good – “My cheeks were / reflecting the longest wavelengths” (“Anything We Want,” which we get is red and that is undeniably a beautiful way of stating it) – but then become convoluted in time travel (pretending the musical protagonist and her lover are eight years old), somewhat ridiculous allusions (UFC, really?! Is there a huge UFC/Fiona Apple fanbase crossover?!), and then leaps abruptly to sexual acts. Very little transition to playing children and outright sex . . . didn’t work for me.

Ultimately, The Idler Wheel just does not feel like Fiona Apple had something clear or compelling to say. While that has never been an issue for her before, it becomes the unstoppable reality that sinks The Idler Wheel.

For other Fiona Apple works, be sure to check out my reviews of:
Tidal
Across The Universe (single)
When The Pawn . . .

4/10

For other music reviews, be sure to check out my Music Review Index Page for an organized listing!

© 2012 W.L. Swarts. May not be reprinted without permission.
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Fiona Apple Sleepwalks Her Way Through A Surprisingly Good EP: “Across The Universe.”

The Good: Good songs
The Bad: Short, Uses the title track twice
The Basics: Despite being a rather short recording, Fiona Apple’s “single” “Across The Universe” has alternate takes of her tracks and the cover song which make it worth hunting.


For those who follow my many reviews, I am a fan of Fiona Apple . . . and not a fan of c.d. singles. It takes a lot to get me to praise a c.d. single, so the fact that I am on the fence between a three and a four on an EP is a pretty big deal for me. That said, anyone looking to enhance their Fiona Apple c.d. collection will find a bit of value in “Across The Universe.”

“Across The Universe” is a song written by the Beatles (or Lennon and McCartney) and covered by many artists afterward. Following her debut album, Fiona Apple recorded the song and her cover of it was used on the soundtrack to the film Pleasantville. It has since made it to market also on a freestanding compact disc featuring Apple’s own works. The thing is, with only four tracks, two of which are readily available elsewhere, it is a tough sell to consider “Across The Universe” worth getting.

This c.d. “single” actually has four tracks (three songs): Apple’s cover of “Across The Universe,” the radio edit of “Criminal,” the live version of “Sleep To Dream,” and an edited version of “Across The Universe,” which was used for promotional purposes, including by radio stations which played the song. Apple wrote both the words and music to “Criminal” and “Sleep To Dream,” both of which appear in other forms on her album Tidal (reviewed here!) and the two versions of “Across The Universe” are only different in that the first is a more true rendering of the original song, while the second eliminates some of Apple’s piano solo in order to make the song shorter.

For those who have not heard Fiona Apple’s works, she is the embodiment of the pop-rock style of one woman and a piano. She plays her piano on all four tracks and only on “Criminal” is there production and accompanying instruments which are distracting. Apple’s primary instruments are piano and her voice and she uses them both quite well. With “Criminal,” though, she presents a very up-tempo (almost danceable) song with lifts and musical swells that give it a grand and sometimes dangerous feel to it. This version of “Criminal” has had almost a minute of pianowork cut out of it to make it more palatable to radio stations (who like things short and repetitive, apparently). By contrast, “Sleep To Dream” and both versions of “Across The Universe” (the latter, like the radio edit of “Criminal” is just missing a few minutes of piano) have a more stark sound focused on the piano and Apple’s voice.

As for Apple’s vocals, she has a classically-trained soprano voice which is just stunning. Listeners who are used to production elements being used in their pop-rock artists will be surprised at how high her voice goes without alterations on “Sleep To Dream” and how dusty it can sound on “Across The Universe.” On “Criminal,” she exhibits exceptional range and she has a vocal force that other artists only dream of possessing.

The only truly unique track on “Across The Universe” is the title track. The live version of “Sleep To Dream” is identical to the one on the “Criminal” single and “Criminal” is fine without any of it cut out. But on “Across The Universe,” listeners get what they pay for and fans of Fiona Apple will find this to be a recording worth picking up just for the variations from the norm (whereas the “Criminal” single did not offer enough unique, this album has the variants obsessive fans tend to hunt for).

“Across The Universe” is a stoner type song in the reimagining by Fiona Apple and she sings her way through it with a sleepy quality that is sometimes difficult to listen to (like late at night while driving through the dark). While The Beatles performed the song as a psychedelic rock song which could be the beginning of a buzz, Apple presents it as if she is completely wasted. She slowly belabors each word as she whisper-sings out “Words are flying out like / Endless rain into a paper cup / They slither while they pass / They slip away across the universe / Pools of sorrow waves of joy / Are drifting thorough my open mind / Possessing and caressing me” (“Across The Universe”). And while Apple makes the poetics of the song seem poetic, her presentation seems to be more in the style of William Shatner performing “Lucy In The Sky With Diamonds” than any energetic reinterpretation. And while Shatner was working with a concept (trying to sing as if he were on LSD), Apple does not seem to be working with any similar conceits. She’s just sleepsinging the song. And it’s interesting, though the end is a bit belabored, and it is something that fans of Fiona Apple will want.

As well, fans of The Beatles who enjoy hearing alternate interpretations of the Fab Four’s works will like “Across The Universe” and Apple’s two original songs illustrate a level of writing on par with some of the best works by The Beatles. That makes this a great little album, if one can find it (at least until Apple comes out with some compilation of her obscure recordings, which is not forthcoming anytime soon).

For other works by Fiona Apple and similar artists, be sure to check out my reviews of:
When The Pawn . . .
Bomb In A Birdcage - A Fine Frenzy
Wicked Little High - Bird York

7/10

Check out how this single stacks up against other musical works I have reviewed by visiting my Music Review Index Page!

© 2012, 2009 W.L. Swarts. May not be reprinted without permission.
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A Poet From The Title Down: Fiona Apple’s When The Pawn . . .

The Good: Excellent lyrics, Great somber mood, Good instrumentals
The Bad: Apple's voice is seldom an instrument on this album.
The Basics: Sad and powerful, strong and moving, Fiona Apple's second album holds up, especially through rough times.


Fiona Apple is a fairly extraordinary musical artist and poet, the latter fact she emphasizes with an obscenely long album title that most people reduce down to When The Pawn . . . The truth is, I could not relate the entire title because the cover of the album is predominantly red and the title is in almost the same shade, making many of the words difficult to read in normal lighting.

Beyond an impressive album title that is a poem, Fiona Apple's second album is a poetic work that flows from piece to piece wonderfully. When The Pawn . . . is an angsty album that seems to focus most on the yearning of the narrator/singer for love plagued by indecision. From the opening chords of "On The Bound" to the last notes of "I Know," this is an album that expresses the essential desires to be heard and loved with the complicated insecurities of self-doubt and doubt in one's partner.

Apple has created a work that is easy to see why it never hit the mainstream; it's a complicated album. This music is not simply "I love you, baby," or "My heart aches because you're going" garbage and it's not simply pop music with a guitar and/or a piano. This is "I love you, but I am pushing myself away from you because I have other issues" music with piano, woodwinds and voice. It's not pop, it's not jazz, it's something . . . well, alternative.

Take one of Apple's sentiments from "To Your Love:" "Please forgive me for my distance / The shame is manifest in my resistance / To your love." Here is a voice saying "love does not solve everything" as she has other issues that interfere with her desire and ability to love. Take that Top 40! But that is the brilliance of Fiona Apple; she is not bound by the conventions of what is "supposed" to be sung about. In some ways, it's a refreshing listen; she expresses the complexities of human relationships without judging them. It's not "I'm horrible for feeling this way," it's "this is how I feel."

The songs on When The Pawn . . . are a decent mix of longing ("To Your Love" "Paper Bag"), empowered - or vengeful, depending on the perspective ("Limp"), and loss ("Love Ridden"). And Fiona Apple has an amazing voice to sing these songs. She is a professional who has some very evident training. Her voice is incredible and the album is not overproduced, though fans of her debut album Tidal (reviewed here!) are likely to note that it is a bit more produced than her earlier work.

In fact, despite the growth in the background music between her debut and this album, the real difference between Tidal and When The Pawn . . . is that Fiona Apple's voice is seldom used like a musical instrument on this album. On Tidal, the dominant sound is Apple's voice, resonating lyrics through the listener. Here her voice is big and her range is impressive, but the album as a whole lacks the essential dependence on her voice the way a song like, "Never Is A Promise" on Tidal did. On that song, Apple's voice is the musical instrument above all others. When The Pawn . . . has no such songs.

The pacing of this album is also somewhat more upbeat than her debut, even if the lyrics are not. For example, the drums on "A Mistake" move the song along with more speed than most of the songs on Apple's first album. Appropriately, "Fast As You Can" goes at a speed that sounds unlike anything else Apple has presented before now. And it works. It's a pleasure to hear this album because of the complexity and diversity of it. The truth is, there are no artists on the radio right now that sound like Fiona Apple and that is a loss to music fans.

When The Pawn . . . is likely to be enjoyed by anyone who likes female artists, great lyrics and an impressive range of musical styles and vocal range. It's the perfect album for one who is experiencing the complex emotions around a weird breakup. It is not likely to be enjoyed by someone who likes the simplicity of Top 40 music and lyrics that state obvious, simplified emotions. This is a work with lyrics that delve into the contradictions within us when we are in relationships or not.

The best track is the complex and sad "Love Ridden," the least strong track (this is a pretty strong album) is probably the confused and convoluted "Fast As You Can."

For other powerful female vocalists, be sure to check out my reviews of:
300 Days At Sea - Heather Nova
Flying Home - Ella Fitzgerald
50 Greatest Hits - Reba McEntire

8/10

For other music reviews, please be sure to check out my Music Review Index Page for a complete listing!

© 2012, 2008, 2005 W.L. Swarts. May not be reprinted without permission.
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A Wave Of Strength: Fiona Apple's Debut Tidal Is The Best Freshman Album In Recent Memory!

The Good: Wonderful voice, Expert lyrics, Some powerful songs
The Bad: Instrumentally unimaginative
The Basics: Buy Tidal if you're sick of the garbage on the radio! This is something different, and more mature, than most people are ever exposed to!


Tidal is one of those albums that it's easy to come back to after a few years, listen to, and say "How did I not realize how great this was when I originally heard it?" Indeed, Tidal is an excellent debut for Fiona Apple the waifish siren who wrote each song on the album. I now consider Tidal to be the best debut album since Dar Williams' The Honesty Room (reviewed here!).

The writing here matters because it is superlative and Fiona's voice is easily one of the most disciplined in music today. Moreover, her range is impressive, from the dusty lows of "Sullen Girl" to the amazing sopranic chorus of "Never Is A Promise." Fiona's music has broad appeal to the teen market where depression reigns, but her music is adult, perhaps even older than her. She carries the depth of emotion of a person much more seasoned in the ways of love and loss than one would think given how young she was when she wrote and performed this album.

In fact the lines Fiona sings are pure poetry and they deserve to be read as much as heard. In "Never Is A Promise," Apple's lines progress emotively from insecurity to fear to confidence with a grace that is uncommon in music. "You say don't fear your dreams, It's easier than it seems," is a couplet from that poem and the truth is, Apple does not make pretty and easy rhymes. Instead, she's deeply meaningful and verbally powerful, putting substance well before style.

That's not to say the album is without commercial appeal. Indeed, the rocking "Criminal" is excellent and the air-friendly "Shadowboxer" has long-term appeal. It is difficult to come up with a weak link, trackwise for Tidal because most of the songs are well written and sound fine. The catch is the album as a total body of work. It doesn't take too many listens to realize that Fiona's amazing vocals are covering a distinct lack of imagination - or possibly ability - on the piano. She plays the same chords over and over again, making it very easy to mistake the tracks by music alone.

The writing is consistent and the songs are highly listenable and the darkness portrayed is very appealing to pretty much anyone with a heart. When she matures musically and can combine her voice and lyrics with a deserving variety of harmonizing instruments, Fiona Apple will naturally reach perfection. Her debut comes close, but she's not there yet!

The superlative track is "Never Is A Promise" and the weak link is "The First Taste."

For other powerful female voices, please check out my reviews of:
Timbre - Sophie B. Hawkins
Fearless Love - Melissa Etheridge
Live From The Milky Way - Heather Nova

8.5/10

For other music reviews, please visit my index page by clicking here!

© 2011, 2008, 2002 W.L .Swarts. May not be reprinted without permission.




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