Fiona Apple: Fetch The Bolt Cutters Album Review

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Fiona Apple: Fetch The Bolt Cutters – Album Review

Unfortunately, in the current climate, I am earning less than I would otherwise be earning, and that lack of extra income means my purchasing of new albums has been curtailed rather markedly. Which is a shame because from what I can gather some fine albums have been released recently. And because the gym has closed, I no longer catch up with the people who have, in the past, leant me albums they have bought. This means my exposure to new music comes from a couple of YouTube guys and the occasional viewing of Rage (when the ABC doesn't play the news instead). Further, the last two albums I did get were not good enough for me to write about.

And I say it again: in times like we are in, here, on WeekendNotes, I am going to be positive, so I will only write about things I like.

Anyway, already too long story short, I received a visitor on her way to Adelaide. We chatted for a bit – it was good to see her – and then I took her out to her car. When she started the engine, this music came out. I asked her what it was; she told me and I was bemused. Anyway, she popped in on her way back home and gave me a copy.

Now I have Fetch The Bolt Cutters by Fiona Apple (2020).


I am the first to admit, I am not the target demographic of Fiona Apple. I am also not the primary target audience (or even the secondary or tertiary or quandary target audience) for Taylor Swift or Grimes but I didn't mind their albums. Having said that, Fiona Apple's music is probably closer to my tastes than those other two. From what I remember.

This is her first album since 2012.

But when my first hearing of a song made me take immediate notice, there is something here that appeals and so it seems only fair that I review it in full.

I am glad Laura gave me a copy, for what it's worth. This is a good pop album that sort of transcends modern pop sensibilities (thank goodness) and delivers an album of strong tracks.

'I Want You To Love Me' Weird percussion opens to piano, and the first verse is delivered just Fiona and piano. This is a song that goes through so many different musical styles and is bizarre and different, and I don't mean that as something bad. She sounds like a more tuneful Bjork or Yoko Ono.


'Shameika' She was bullied but some girl she didn't really know told her she "had potential". That's the song. It's an affirmation song, but still speaks of insecurity. And, again, it does not conform to any one musical style. This album is weird and strange and I am loving it. Oh, and this is my favourite track on the album.

'Fetch The Bolt Cutters' Another look back at how events as a younger person shaped who she is today, this has a slightly more down feeling, and is punctuated by animal cries. But the younger Fiona is reflected today, with talks of being "blacklisted", and invoking Kate Bush ("running up that hill"), an artist renowned for doing what she wanted to do. It feels like a cry for emancipation.


Diversion – the lyrics here are incredible. This is not "moon, spoon, June" set of songs – this is poetry set to music. I can honestly see this being studied and dissected at universities by next year.

'Under The Table' "Kick me under the table all you want, I won't shut up." She doesn't want to be there, and is letting everyone know it. This is more traditional in song structure, but it is still powerful. It is the song of someone who likes being alone. I can relate.

'Relay' "Evil is a relay sport when the one who is burnt turns to pass the torch." So starts this song, which, again, combines multiple musical styles and indicates that being acrimonious and being negative for negativity sake is stupid. And the closing where over-tracked voices are used as instruments is out of nowhere and stunning.

'Rack Of His' This has an almost raw Adele feel about it, but with a different instrumentation to the rest of album, giving it a carnival feel. She is angry at being rejected by someone, possibly for music, but the music and driving percussion are almost hypnotic.

'Newspaper' Fiona sees the new girlfriend of her ex being abused and it makes her feel close to the girl, because she suffered through it as well. There is real – and justified – anger here, and there should be more songs like this out there to address issues like this. But while the music industry is male-dominated and bro-country, misogynistic rap and sexualisation of kids continues in the music industry, it is like a lone voice on an island in a sea of suck. This song is one of the album highlights.

'Ladies' It feels like this song is almost meant to be humorous as Fiona wants to gather together all the partners, ex and future – of her ex to discuss things. It is about not being jealous, I think. But the tempo is slow, like a ballad Charlie Pluth might try, but more self-knowing and far better written.

'Heavy Balloon' This is a song about depression. Considering my own battles with mental demons, I related to this song a lot, and she articulated it in a way that made sense and she is yet another singer-songwriter who makes me see just how limited my own writing skills are. Another highlight. The changes of style throughout are done so well, and I love the percussion-heavy to sparse voice sound of the closing 30 seconds of the track.

'Cosmonauts' This feels like a bitter break-up song, or a song of 'shape up or ship out'. This is the most straight-forward song-structure on the album, with a soaring section, with voices underlying in layers of vocal instrumentation. There is anger to the song, but beauty as well. Strange juxtaposition, but it does not feel forced and it works.

'For Her' This is a mainly vocal and percussion, and is an angry, angry song. "You raped me in the same bed your daughter was born in…" Jeez… Like I said, anger, but the delivery is incredible. This is a gut-punch of a song.

'Drumset' Another vocals and percussion dominated track. I am loving that combination. This is a track of yearning – "Why did you take it all away? Why did you not want to try?" – but, again, there is anger. Or maybe bitterness. The emotion is strong, though.

'On I Go' We return to the controlled chaos of the opening tracks to close out the album. She even leaves in a mistake! That is cool and shows a degree of confidence. I think the track is about moving forward is okay even if there do not seem to be many great changes, so long as you move. Strong track to finish the album.

This album is vocal and percussion led with some keyboards, a few guitars and other strings, but mainly various and varying percussion noises and lots of vocalisations. This is so very different from anything I have heard in ages. I really, really enjoyed this album. Not a bad track. Thanks, Laura!

Now, I was a bit confused. Why hadn't I heard about this when, to me, it seems so good? So, after writing the review, I had a quick look at the very few music sites I frequent. Yep. They all liked it as well. Not just me. I feel a bit cheap conforming like that, but there is a reason, I guess – this is a really good album.

And so, I have another to add to the increasingly long list of impressive and awesome albums from female singer-songwriters from the past few years, like Amy Shark , Alex Lahey , Laura Imbruglia , and, the Queen, Suzi Quatro . So much great talent out there.

Anyway, that's the album. Yes, I liked every track on it. I reckon you will as well.


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