Extraordinary MachineFiona Apple
Fiona Apple's much-delayed, much-hyped and much-rallied for third album, Extraordinary Machine was many mouthfuls less than her last effort. True to form, the incomplete internet-leaked album now sounds more polished than its original form though purists have begged to differ.
The Jon Brion-produced title track is an exquisite and delighful song that almost brings back the glamorous 60's broadway feel with its clever lyrics. O' Sailor is an Apple piano standard which sounds like a deadringer for Shadowboxer with her smoky yet yearning vocals. The new version has a choral ending absent in the earlier version, resulting in a division of opinions among diehard fans as to which is better. Tymphs re-produced by Mike Elizondo has successfully married Apple's shrewd pop with the ever popular hip hop sound to create the best cartoon tune that Disney never came around to produce. Then there's the sorrowful and dramatic Oh Well where Apple sings with so much unspoken angst.
Sony might find Extraordinary Machine uncommercial enough (Sophie B. Hawkins was an earlier victim, George Michael too) but in this internet age, the fans' ability to rally behind a forgotten artist has demonstrated their collaborative might to the record companies. After all the dust is settled, Extraordinary Machine is best left for fine savouring. (A)
Fiona Apple's much-delayed, much-hyped and much-rallied for third album, Extraordinary Machine was many mouthfuls less than her last effort. True to form, the incomplete internet-leaked album now sounds more polished than its original form though purists have begged to differ.
The Jon Brion-produced title track is an exquisite and delighful song that almost brings back the glamorous 60's broadway feel with its clever lyrics. O' Sailor is an Apple piano standard which sounds like a deadringer for Shadowboxer with her smoky yet yearning vocals. The new version has a choral ending absent in the earlier version, resulting in a division of opinions among diehard fans as to which is better. Tymphs re-produced by Mike Elizondo has successfully married Apple's shrewd pop with the ever popular hip hop sound to create the best cartoon tune that Disney never came around to produce. Then there's the sorrowful and dramatic Oh Well where Apple sings with so much unspoken angst.
Sony might find Extraordinary Machine uncommercial enough (Sophie B. Hawkins was an earlier victim, George Michael too) but in this internet age, the fans' ability to rally behind a forgotten artist has demonstrated their collaborative might to the record companies. After all the dust is settled, Extraordinary Machine is best left for fine savouring. (A)
