About

Fiona Apple’s fifth record is unbound. No music has ever sounded quite like it. Apple recorded Fetch the Bolt Cutters both in and with her Venice Beach home, banging on its walls, stomping on its ground. Self-reliance is its rule, curiosity is its key. Fetch the Bolt Cutters seems to almost completely turn the volume down on music history, while it cranks up raw, real life handclaps, chants, and other makeshift percussion, in harmony with space, echoes, whispers, screams, breathing, jokes, so-called mistakes, and dog barks. (At least five dogs are credited: Mercy, Maddie, Leo, Little, and Alfie.) All of this debris orbits around the core of Apple’s music: her voice, her piano, and most of all her words, which have always been her primary instrument. It creates a wild symphony of the everyday.

-

In the past, Apple has said John Lennon was her god, and she wrote lyrics and melodies on par with the finest pop songs ever recorded. But Fetch the Bolt Cutters feels more conceptually akin to the revolutionary risk-taking of saint Yoko Ono—a woman who once wrote, “I like to fight the establishment by using methods that are so far removed from establishment-type thinking that the establishment doesn’t know how to fight back.” Fetch the Bolt Cutters does something similar. It contains practically no conventional pop forms. Taken together, the notes of its found percussion and rattling blues are liberationist. – Pitchfork