GABE DURHAM
Staff Writer
There is a lot of buzz surrounding the release of Fiona Apple’s first album in six years.
These songs were first recorded several years ago as produced by Jon Brion (“Punch-Drunk Love” and “Eternal Sunshine of the Spotless Mind” soundtracks) and then shelved by the label. When fans orchestrated a “Free Fiona” campaign in favor of the album’s release, the artist was inspired to re-record her songs with Eminem producer Mike Elzondo.
Does the new album deserve to be reviewed based entirely on its own musical merit? Absolutely and it’s bursting with merit. The problem is: the first version was a masterpiece.
“Extraordinary Machine” starts and ends with two unchanged tracks from the first session, leaving listeners with a taste of what might have been. The whimsical, orchestral faire of the title track is the perfect start: It’s delicate, funny and uncharacteristically optimistic. Similarly, “Waltz (Better Than Fine)” closes the album with grace and beauty.
The rest of the album is at odds with its bookends. “Get Him Back” follows “Machine” with piano-driven anger rock of Ben Folds proportions. It’s a slick, cold catalogue of disappointing past lovers. The song dynamics create a perfectly tense undoing of the tranquil first track. The only problem is that it’s boring. It is the same story with the uninteresting “O’ Sailor” and “Parting Gift,” the album’s poorly-chosen singles.
While her arrangements are often stale, much of Apple’s songwriting is in top form. The cleverness of pop gems “Tymps” and “Please Please Please” is undeniable. By the same token, her moody, distinctly low voice is better than it’s ever been.
“Better Version of Me” is a brilliant list of Apple’s faults in which she announces her plan to overturn them and upgrade herself in the world’s eyes. It’s dynamic and relatable. Yet, save from the warm horns, the song suffers from a poor arrangement. Whereas Brion’s playful, carnival-esque original ended hopefully, Apple sounds downright bored with herself by the end of the tune.
The album is consistent with the songwriting-as-therapy model of Apple’s past. Yet halfway through, Apple’s themes of self-sufficiency and bashing her ex-lover start to grow stale. “Window” takes the metaphor of a window as a relationship, and beats it to death.
Still, the greatest track on the album is another heartbreak song, and she saved it for just before the end. “Not About Love” has passionate vocals, dynamic tempo changes, crisp drums and fiery piano — everything that she does best.
“I am not in love,” Apple sings. “In fact I can’t stop falling out.”
When she breaks into a vicious, up-tempo verse after the first chorus, her relationship hell breaks loose. The result is a staggering reminder of why we paid attention to her in the first place.
Apple’s 1999 sophomore release, “When the Pawn Hits … ,” set the bar high and her first recording of the new album raised it. It shouldn’t be any wonder, then, that “Extraordinary Machine” falls a little short.
Fiona Apple, at 28, has established herself as one of the most talented songwriters of her generation. Hopefully, we’ll be seeing better and better versions of her as time passes.
11-03-2005
