Three years after the critical success of her first album, Tidal, Fiona Apple returned with the follow up When the Pawn Hits...
Or to give the full title of the album:
When the Pawn Hits the Conflicts He Thinks Like a King What He Knows Throws the Blows When He Goes to the Fight and He’ll Win the Whole Thing ‘Fore He Enters the Ring There’s No Body to Batter When Your Mind Is Your Might So When You Go Solo, You Hold Your Own Hand and Remember That Depth Is the Greatest of Heights and if You Know Where You Stand, Then You Know Where to Land and if You Fall It Won’t Matter, ‘Cuz You’ll Know That You’re Right.
Perhaps not the easiest album name to remember when going to the store and asking for it, granted, but it provides a glimpse into Apple’s mind as to just how much she needs to say or express with her music and words. Of course it could just be a case of free form writing. Either way, it’s different.
During 1999 rap/metal was the new thing. Monotony and repetitious drivel in the form of Korn, Limp Bizkit were the cutting edge. Bad spelling, designer gear, horrendous music (if it could be called music) and an ample diet of lyrics written by a 7 year old were dominating the charts at an unstoppable pace.
When the Pawn Hits is a very important, and almost perfect album of personal torture and pain put out for public consumption. I hope it isn’t the case that she disappears into obscurity
It was then pleasant to see that Apple had returned to the music world, with open arms (or a hidden knife) and a gem of an album. The antidote the poison that was a cross breed mismatch of genres, bad hair and bad music. Manners, intelligence, grammer thrown through the window. It was the skate board generation, it was the retard generation. The skate board generation had more respect and originality back when American punk bands ruled the roost, and it was actually music they were listening to.
Like her previous album, Apple opens with quite a venomous and intelligent track, On the Bound. The three years away has matured not only her voice and lyrics, they have matured her sophistication and confidence. It is at once gut wrenching, and beautiful in the same breath.
This single opening track is head an above her previous album completely, which is quite a statement to make, but the strength of this album is quite astonishing, as Apple exudes the sort of control that her previous album didn’t quite show. She’s grown, she knows it, and she wants to show it. Like a clap of thunder, it awakens your senses as her voice snaps and screams to the gorgeous music. There’s experimentation here musically that shouldn’t work that does, and it’s brilliant.
The confidence and brilliance of the album continues with To Your Love. It’s unforgiving, sardonic and wonderfully poignant. Apple does let up on the sharp and witty nature of her lyrics; a brilliant track playing with an angst like punch that lacked in the the entire rap/metal genre of that time. It never fails to ensure your head is rattled as Apple pleads understanding with a gritty, yet heart wrenchingly stunning voice.
I cannot emphasise enough the quality of this album, and it easily ranks as one of my favourites. Released as the second single from the album, to demonstrate she wasn’t all sweetness and light, Limp is a kick in the balls with steel toe cap boots. Perhaps it’s a metaphor for the after effects of feeling that kick. But I’m kidding of course, it doesn’t pull any punches making it’s essence clear and precise. Like a tiger rattled in her cage through annoyance, she pounces in this track with all the ferocity and drive of an enraged animal. It’s scary, paced and yet beautiful.
The three years away has matured not only her voice and lyrics, they have matured her sophistication and confidence
Love Ridden gives us something familiar from Apple, with a ballad to slow down the beating of the heart, but lyrically the depressive words continue to smack down in the basement of darkness. Yet, she pulls it off with such gusto, such stunning vocals that it doesn’t matter, and you follow with her on her journey into the dark. It’s a ballad, but it’s as painfully dark, and has a bite that would become infected without treating it with something nice.
One of my favourite tracks, Paper Bag, is a smart, sad and yet, strangely for Apple, an upbeat track. The jazzy voice, the jazzy music, the dispirited lyrics work well together. Up to this point, you’ll hear variations and familiarity with Apple’s music. It’s an enjoyable track which takes you out of the drudges of her basement, and let’s you see a little sunlight.
Self explanatory is the track A Mistake. The cool sophistication of A Mistake is not missed and openly demonstrated. The moment of profanity could be seen as a gimmick to put her back in the book of the bad. One swear word won’t do this, and it’s used in construction with the song and the whole “I don’t give a shit” attitude of the song. It’s fun, it’s entertaining and entertains the idea of cool in a different way. A song about freedom, learning, making mistakes and understanding without being mothered, or punished for doing something they don’t understand. particularly true for Apple I guess, in so far as being a role model for some, she would have to be levied with the responsibility of never having to make a mistake perhaps.
The first single off the album was Fast As You Can. It’s an interesting choice of track to pick, as it’s reasonably fast, perhaps emphasising the title as Apple goes through her lyrics at the speed of a bullet, accentuated by the very racey nature of the music. You listen to Apple as she blurts out a paragraph of words, and then hear the gush of air she takes as she readies herself for another burst of words.
The track slows down a little a third in, but picks up the pace again. It’s a very interesting track, because it provides a range of talent from Apple. At the same time, it is perhaps the most accessible and commercial of all the tracks on the album. It may have been a matter of reminding people that she’s angrier than ever. I’m not too sure to be honest, but it’s a quality track and the video to it is pretty entertaining too, which reminded me very subtlety of an 80s video by Peter Gabriel with its speedy, almost stop motion nature.
Apple becomes brash, she shows her maturity and gift with The Way Things Are. Easily my favourite track. Oozing a sultry, sexual voice with words of defiance and strength, she manages to blow your ear drums by holding her voice as good as anyone, but with a deep rooted passion and love that draws you in once more, in to her world, in her place. It’s gratifying and powerful, and truly a mark of talent during an age of crap.
The penultimate track, Get Gone, is rather simple in its message for space, isolation and time to yourself. It’s done with tongue-in-cheek, and yet bitterness in it’s expression. Listening to it reminds you of what it’s like to feel wrathful about someone that has wronged or simply annoyed you. It does more than the middle finger gesture, and Apple’s sheer anger comes across in droves. Like the rest of the tracks, Get Gone is perhaps not quietly malicious.
Things come to ahead with I Know. It’s a simple ballad this time, and perhaps a relief in some regards, as most would probably have reached crisis point by the time they reached Get Gone in the belief that Apple would perhaps jump out of the CD player with a knife in one hand, and an expression of murder on her face.
Listening to it reminds you of what it’s like to feel wrathful about someone that has wronged or simply annoyed you. It does more than the middle finger gesture
Calm yourself however, as there’s no shouting this time round. A moment of closure I guess, with a slowish pace, a singer’s voice, some piano and little in the way of spine tingling chills. It’s a very delicate track, hopeful if anguished, soft yet accepting disappointment. It’s a fulfilling conclusion into the heart of someone who has not only grown in three years, but also celebrated her emotions in such a personal manner.
One of my favourite albums since its release, and of the two released, her strongest to date. It more than ranks up there with the best of them, and provides ample evidence and hope in a truly wonderful talent. In many ways, she seems to be going through the motions of emotion much as PJ Harvey did when she began, and as did Tori Amos and Alanis Morissette. We’ve had a glut of wanna be angst filled pop stars. Trash like pop with the likes of Meredith Brookes, or the school ground music of deplorable nonsense such as Avril Lavigne as a modern example. Put side by side against Apple, and Lavigne is what she is: a child with a phantom chip on her shoulder, and brattish attitude that says, “Idunwannagrowup! Idunwanna!”.
It’s been 5 years since the release of When the Pawn Hits. It’s very possible Fiona Apple will leave behind a legacy of only two albums. But unlike Jeff Buckley, who I liked before and after his death, there is very little in the way of sub par material. When the Pawn Hits is a very important, and almost perfect album of personal torture and pain put out for public consumption. I hope it isn’t the case that she disappears into obscurity.
Perhaps she has vented all the pain she can, and When the Pawn is quite difficult to listen to for some people, with some of my friends describing it as nihilistic. I would disagree and say that listening to this album would actually put everything you consider to be a problem into a lighter perspective. You come out, seeing the light as it were, that things aren’t so bad. While at the same time appreciating the heart and soul that Apple has placed in her music and words.
Verdict: A breathtaking, beautiful and superior follow up. Misery would fear Fiona Apple.
Track Listing
1. On The Bound
2. To Your Love
3. Limp
4. Love Ridden
5. Paper Bag
6. A Mistake
7. Fast As You Can
8. The Way Things Are
9. Get Gone
10. I Know