She was introduced to the world back in the mid-90s through her profound voice and strong personality, arousing our deepest feelings and persuading us to take her side on every song.
After a long interval since the release of her last studio album in 2005, Fiona Apple passionately returns with new material that reminds us of old yellowing photos and the creepy chords of a gloomy song.
Making use of her very own formula originally tested on the 1999 album ‘When The Pawn…‘, this wide-eyed beauty comes back with ‘The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do‘.
It opens with ‘Every Single Night‘, bringing African and Oriental elements on sad topics which are prevalent throughout the album. Her lyrics are drenched in every single emotion, she shows herself to be disarmed, reflecting a very disturbed heart and mind. It seems she is letting us know it hurts and nobody can do anything about it.
“You didn’t see my valentine/I sent it via pantomime”, opens ‘Valentine‘, Fiona is suspended in time, a time that although still, keeps slipping away through her fingers. She plays the rejected character in her own story, trying to grow from her mistakes and bad luck. Somewhere during her trip, it appears as if she made it, but later she declares: “I cramped up in the learning curve”.
It is worth noting the participation of drummer Charley Drayton, who has worked with several artists such as Janet Jackson, Iggy Pop and Neil Young. His heartbeat movement introduces the fifth track of the album, ‘Left Alone‘. Fiona aims to keep herself safe by being alone, before her immense need for affection holds her back from her decisions, with two sides of the same lens romantically reflected by the melting notes of a vibrant piano.
Coming up, two tracks can be rescued after swimming several miles into this ocean of melancholy, hoping to not die trying: “I could liken you to a werewolf the way you left me for dead/But I admit that I provided a full moon”. The lyrics stress guilt. While opposites attract, Fiona seems to reinforce they are opposites after all. ‘Periphery‘ brings the eternal issue of commitment, and remarks on the lack of it. Another piano-driven song where its sinister melody takes over every line, only embittered by the subtle sound of dragging shoes. It is worth mentioning the lack of musical form. No verse is equal to the other, hence the emphasized message.
When approaching the end, once again relationships emerge. ‘Hot Knife‘, a song with a more cheerful melody provides an expected change of scenery. Tribal drums in the background give some mystical spice to very contagious choirs.
On the album, you will find a set of songs which links one to the other, drawing a chain of different stories whose narrative has become Fiona’s trademark. Even though we can try to give some kind of roundabout meaning to her lyrics, she may be telling us anything, even the strangest thoughts, incomprehensible for the average person.
Although her poetry is intensely beautiful and creative in many ways, these gloomy topics may be related to 90’s grunge teenage angst.
Who knows what the future will bring for Fiona, hopefully much more happiness.
(Vanna Reflex)