Fiona Apple – Fetch The Bolt Cutters - 2020 Indie Rock - 180 Grm - 2LP

In stock

Fiona Apple – Fetch The Bolt Cutters

Epic – 19439774031, Clean Slate – 19439774031
2 x Vinyl, LP, Album, 180g
180g standard black vinyl release. Includes a lyric booklet and a download card
Jul 17, 2020

A1 I Want You To Love Me 3:58
A2 Shameika 4:09
A3 Fetch the Bolt Cutters 4:59
A4 Under The Table 3:21
B1 Relay 4:49
B2 Rack Of His 3:42
B3 Newspaper 5:33
C1 Ladies 5:25
C2 Heavy Balloon 3:26
C3 Cosmonauts 3:59
D1 For Her 2:44
D2 Drumset 2:40
D3 On I Go 3:09
Companies, etc.
Recorded At – Fiona's House
Recorded At – Stanley Recordings
Recorded At – Sonic Ranch Studios
Recorded At – Waystation
Lacquer Cut at – Sterling Sound
Pressed By – MPO
Artwork – David Garza
Co-producer – David Garza, Sebastian Steinberg
Lacquer Cut By – JN/H*
Mastered By – Bob Ludwig
Mixed By – Dave Way (tracks: A1, B1, B2, C2), John Would (tracks: C1), Tchad Blake (tracks: A2-A4, B3, C3, D1-D3)
Producer – Amy Aileen Wood
Producer, Written-By – Fiona Apple
Made in the EU.
A1: Recorded at Fiona's house and Stanley Recordings
A2: Recorded at Fiona's house and Stanley Recordings
A3: Recorded at Fiona's house, Stanley Recordings
A4: Recorded at Fiona's house, Stanley Recordings
B1: Sample from "my kettle, my cats" by Sebastian Steinberg, recorded at Stanley Recordings, Fiona's house, Sonic Ranch
B2: Recorded at Fiona's house and Stanley Recordings
B3: Recorded at Fiona's house and Waystation and Stanley Recordings
C1: Recorded at Stanley Recordings, Fiona's house, Sonic Ranch
C2: Recorded at Stanley Recordings, Fiona's house, Waystation
C3: Recorded at Stanley Recordings, Fiona's house, Sonic Ranch
D1: Recorded at Fiona's house
D2: Recorded at Fiona's house
D3: Recorded at Sonic Ranch, Stanley Recordings, Fiona's house
Barcode and Other Identifiers
Barcode (Scanned ): 194397740318
Barcode (Text): 1 9439-77403-1 8
Label Code: LC00199
Rights Society: BIEM/GEMA
Matrix / Runout (Side A runout etched/stamped): 20-0217 / 19439774031-A MPO 20 168638 JN/H STERLING
Matrix / Runout (Side B runout etched/stamped): 20-0217 / 19439774031-B JN/H STERLING
Matrix / Runout (Side C runout etched/stamped): 20-0217 / 19439774031-C JN/H STERLING

Matrix / Runout (Side D runout etched/stamped): 20-0217 / 19439774031-D JN/H STERLING

"Apple said, in a recent profile in The New Yorker, that she worried she’d constructed “a record that can’t be made into a record,” but that shakiness was merely a symptom of a feat of total abandon. The whole album flies. The opening song, “I Want You to Love Me” seems to offer a thesis for the meaning of life: to love, to connect, to get “back in the pulse.” She sings, scats, lightly raps—and proceeds to curl her voice into an extended-vocal contortion à la Yoko or Meredith Monk, over a Reichian piano loop, signaling an avant-garde inclination. Apple sings about time and meaninglessness, and how “while I’m in this body I want somebody to want.” She sings about knowing that one day she will die. The song echoes the beautiful open letter she wrote in 2012 about her dog, Janet, who was then dying: “I know that I will feel the most overwhelming knowledge of her [...] in the last moments.” Apple reportedly “tapped” on a box containing Janet’s bones during the recording of the album.
There is a tendency among songwriters, as they get older, to refine—to use fewer words to allow for easier melodies. But to refine is to reel back, to withdraw. Apple does the opposite, reimagining her music to accommodate even more words, more of herself: “You’ve got to get what you want/How you want it/But so do I,” she sings on “Drumset,” grasping at every self-determined syllable. A number of Fetch the Bolt Cutters’ rough-hewn tracks sound like they might collapse at any moment, only to pick themselves up with a smirk of cool relief. The incantatory “Relay” includes a fluttering ambient noise jam recalling no one so much as O.G. punk band the Slits. Across four distinct movements, the madcap “For Her” pivots from a cabaret tune to a march to a swooping blues ballad to a one-woman choir of antagonizing angels. It is the definition of uncompromising. Apple’s indictments of men are also cutting as ever—“Your face ignites a fuse to my patience,” goes “Cosmonauts”—but her vulnerabilities are more daring, too. In a single word, her voice can dive from a ragged scream to a whisper so intimate that it barely exists outside of her.
Fetch the Bolt Cutters can threaten the status quo and it can be outrageously funny, often at once. The long-reigning queen of self-isolation proclaims, “I told you I didn’t want to go to this dinner,” to open a song called “Under the Table,” as in: “Kick me under the table all you want/I won’t shut up.” “Rack of His” turns the experience of, well, getting played by a musician, into something hysterically subversive: “Check out that rack of his/Look at that row of guitar necks,” she daydreams, before cutting to the quick: “I thought you would wail on me like you wail on them.” And on “Relay,” after listing off a series of things she resents about an ex, she offers a critique of our hyper-socially-mediated world so savage it practically demands a standing ovation: “I resent you for presenting your life like a fucking propaganda brochure.” With her humor comes a playfulness that is still genuinely disarming to hear from a woman who wrote a song about herself and titled it “Sullen Girl.”
The title track, and the album’s peak, is a work of musical bildungsroman, like a teenage girl’s diary, detailing the futility of fighting your way through a friendship, crying, and the secret power of a Kate Bush song. Apple sings of how the cool girls in school damaged her self-esteem, how the strength of your mind does not guarantee the fortitude of your heart. The energy centers of the song are reversed—the verses slink with gravity, the choruses are steadied and light. “Fetch the bolt cutters,” Apple sings like a spell, “I’ve been in here too long.” She has always strung words together like armor, but “Fetch the Bolt Cutters” feels designed to protect us. However you interpret it, the line, the song, and the album speak the language of transcendence. In 1996, on “The Child Is Gone,” Apple alluded to how the world can disconnect us from ourselves: “I’m a stranger to myself.” On “Fetch the Bolt Cutters,” Apple narrates this experience, reclaims it, and resists it—a revolt against the very idea of being controlled." ( PItchfork) 

More Information
Condition New
Format 2LP, 180 Gram
Label Epic
Color Black