In the past, Apple has said John Lennon washer god, and she wrote lyrics and melodies on par with the finest pop songsever recorded. But Fetch the Bolt Cutters feels more conceptually akin to the revolutionaryrisk-taking of saint Yoko Ono—a woman who once wrote, “I like to fight theestablishment by using methods that are so far removed from establishment-typethinking that the establishment doesn’t know how to fight back.” Fetch the BoltCutters does something similar. It contains practically no conventional popforms. Taken together, the notes of its found percussion and rattling blues areliberationist.
在过去，Fiona Apple曾说约翰列侬是她的上帝，她写的歌词和旋律与有史以来最好的流行歌曲不相上下。但从概念上讲，Fetch the Bolt Cutters更类似于大艺术家小野洋子的革命冒险路线，小野洋子曾写道:“我喜欢用与当权派思维相去甚远的方法来对抗当权派，当权派根本不知道如何反击。”Fetch the Bolt Cutters也做了类似的事情。它几乎不包含任何传统的流行音乐范式。总的来说，它的打击乐音符和不整洁的布鲁斯乐是自由主义的。
Apple was moving towards all of this with2012’s The Idler Wheel. Even after the fury and eloquence of her initialthree-album run—manifestos from a voice of disenchantment who knew even as ateenager that she was “too smart” for the world—Idler Wheel still felt like abreakthrough. It was the first Apple record to realize the breadth of herpotential in the ecstatic reach of the music itself. On the corporeal“Daredevil,” she sang of “gashes” that gave her “lift.” But on Fetch the BoltCutters she calls the gashes out by name: “bullies,” “it girls,” “wannabes,”and, above all, toxic masculinity.
从2012年的The Idler Wheel，Fiona Apple就开始朝着这一切迈进。即使在她最初的三张充满愤怒和雄辩的系列专辑——一个早在十几岁时就意识到自己对于这个世界来讲“过于聪明了”（译者注： Never Is a Promise的歌词）的幻灭者的高声宣言——之后，The Idler Wheel仍然感觉像一个突破。这是Fiona Apple第一张还原了她在音乐本身的狂喜范围企图的唱片。在Daredevil中，她唱到了让她“振奋”的“伤痕”。但在Fetch the Bolt Cutters中，她终于叫出了那些伤痕的名字:“恶霸”、“it girls”、“wannabes”，最重要的是，还有“有毒的男子气概”。

In the past, Apple has said John Lennon washer god, and she wrote lyrics and melodies on par with the finest pop songsever recorded. But Fetch the Bolt Cutters feels more conceptually akin to the revolutionaryrisk-taking of saint Yoko Ono—a woman who once wrote, “I like to fight theestablishment by using methods that are so far removed from establishment-typethinking that the establishment doesn’t know how to fight back.” Fetch the BoltCutters does something similar. It contains practically no conventional popforms. Taken together, the notes of its found percussion and rattling blues areliberationist.
在过去，Fiona Apple曾说约翰列侬是她的上帝，她写的歌词和旋律与有史以来最好的流行歌曲不相上下。但从概念上讲，Fetch the Bolt Cutters更类似于大艺术家小野洋子的革命冒险路线，小野洋子曾写道:“我喜欢用与当权派思维相去甚远的方法来对抗当权派，当权派根本不知道如何反击。”Fetch the Bolt Cutters也做了类似的事情。它几乎不包含任何传统的流行音乐范式。总的来说，它的打击乐音符和不整洁的布鲁斯乐是自由主义的。
Apple was moving towards all of this with2012’s The Idler Wheel. Even after the fury and eloquence of her initialthree-album run—manifestos from a voice of disenchantment who knew even as ateenager that she was “too smart” for the world—Idler Wheel still felt like abreakthrough. It was the first Apple record to realize the breadth of herpotential in the ecstatic reach of the music itself. On the corporeal“Daredevil,” she sang of “gashes” that gave her “lift.” But on Fetch the BoltCutters she calls the gashes out by name: “bullies,” “it girls,” “wannabes,”and, above all, toxic masculinity.
从2012年的The Idler Wheel，Fiona Apple就开始朝着这一切迈进。即使在她最初的三张充满愤怒和雄辩的系列专辑——一个早在十几岁时就意识到自己对于这个世界来讲“过于聪明了”（译者注： Never Is a Promise的歌词）的幻灭者的高声宣言——之后，The Idler Wheel仍然感觉像一个突破。这是Fiona Apple第一张还原了她在音乐本身的狂喜范围企图的唱片。在Daredevil中，她唱到了让她“振奋”的“伤痕”。但在Fetch the Bolt Cutters中，她终于叫出了那些伤痕的名字:“恶霸”、“it girls”、“wannabes”，最重要的是，还有“有毒的男子气概”。

Fetch the Bolt Cutters can threaten thestatus quo and it can be outrageously funny, often at once. The long-reigningqueen of self-isolation proclaims, “I told you I didn’t want to go to thisdinner,” to open a song called “Under the Table,” as in: “Kick me under thetable 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 onthem.” And on “Relay,” after listing off a series of things she resents aboutan ex, she offers a critique of our hyper-socially-mediated world so savage itpractically demands a standing ovation: “I resent you for presenting your lifelike a ****ing propaganda brochure.” With her humor comes a playfulness that isstill genuinely disarming to hear from a woman who wrote a song about herselfand titled it “Sullen Girl.”
Fetch the Bolt Cutters可以威胁现状，也可以非常搞笑，但更经常是两者兼具。这位自我隔离届的女王宣布，“我告诉过你，我不想去参加这个晚宴”，这正是一首名为Under The Table的歌曲的开头，同样也有:“随你怎么踢我/我不会闭嘴。” Rack of His把音乐家演奏的体验变成了一种歇斯底里的颠覆性的东西:“看看他的架子/看看那排吉他琴颈，”她做着白日梦，然后才转到主题:“我以为你会对我哭，就像你对他们哭一样。”在Relay中，她先是列出了自己对前任的一系列不满，然后对我们这个高度社会中介化（译者注：原文socially-mediated，我也不知道是什么意思）的世界提出了批评，这个世界如此野蛮，几乎需要起立鼓掌:“我讨厌你把自己的生活写成***宣传手册。”她的幽默中带着一种戏谑的意味，当我们听到一个女人写了一首关于她自己的歌，并把它命名为“闷闷不乐的女孩”时，她的幽默仍然是让人不由自主地放下戒心。
The title track, and the album’s peak, is awork of musical bildungsroman, like a teenage girl’s diary, detailing thefutility of fighting your way through a friendship, crying, and the secretpower of a Kate Bush song. Apple sings of how the cool girls in school damagedher self-esteem, how the strength of your mind does not guarantee the fortitudeof your heart. The energy centers of the song are reversed—the verses slinkwith 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 strungwords together like armor, but “Fetch the Bolt Cutters” feels designed toprotect us. However you interpret it, the line, the song, and the album speakthe language of transcendence. In 1996, on “The Child Is Gone,” Apple alludedto 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, andresists it—a revolt against the very idea of being controlled.
专辑标题曲，也是这张专辑的巅峰之作，是一部音乐成长小说：就像一个少女的日记，详细描述了你在友谊中挣扎的徒劳、哭泣，以及Kate Bush音乐的神秘力量。Fiona Apple唱到学校里的酷女孩如何伤害了她的自尊，你的思想力量是如何不能保证你内心的刚强。这首歌的能量中心是相反的——主歌里她随着重力坠落，但副歌是稳定的暮光。“去把断线钳拿来，”Fiona Apple像念咒语似的唱着，“我在这里待得太久了。”她总是像盔甲一样把歌词串在一起，但Fetch the bolt cutters是为了保护我们。无论你如何诠释它，歌词、歌曲和专辑都说着超越。1996年，在The Child Is Gone中，Fiona Apple曾暗指这个世界如何让我们与自己脱节:“我对自己很陌生。”在Fetch the Bolt Cutters里，Fiona Apple再次讲述了这种体验，重申并抵制了它——这是一种对被控制的想法的反抗。

She calls men out for refusing to showweakness, for treating their wives badly, for needing women to clean up theirmesses. Where The Idler Wheel explored a form of self-interrogation—“I’m toohard to know,” she crooned—on Fetch the Bolt Cutters, she unapologeticallyindicts the world around her. And she rejects its oppressive logic in everynote. The very sound of Fetch the Bolt Cutters dismantles patriarchal ideas:professionalism, smoothness, competition, perfection—aesthetic standards thatare tools of capitalism, used to warp our senses of self. Where someone elsemight erase a mistake—“Oh **** it!” she chuckles on “On I Go”—she leaves it in.Where someone might put a bridge, she puts clatter. Where she once sang,“Hunger hurts but starving works,” here, in the devouring chorus of “HeavyBalloon,” she screams: “I spread like strawberries/I climb like peas andbeans.” There is nothing top-down about the sound of Fetch the Bolt Cutters.“She wanted to start from the ground,” her guitarist David Garza told The NewYorker. “For her, the ground is rhythm.”
她指责男人，指责他们拒绝示弱、对妻子不好、需要女人帮他们收拾烂摊子。在The Idler Wheel中，她探索了一种自我审问的形式——“我很难知道”，她低声嘟囔——但在Fetch the Bolt Cutters里，她毫无歉意地控诉她周围的世界。她拒绝了每一个音符中压抑的逻辑。Fetch the Bolt Cutters的声音本身就打破了父权的观念:专业、平滑、竞争、完美——这些都是资本主义的工具，这些美学标准是用来扭曲我们的自我意识。别人可能会抹去一个错误——她却把错误留在原地，“哦，去他的!”她在On I Go中笑着说。在有人可能建桥的地方，她放上了铃铛。她曾在Heavy Balloon里唱过，“饥饿让人受伤，但饥饿管用”(Hunger hurt but hungry works)，在这首歌里，她在吞噬一切的副歌中尖叫道:“我像草莓一样延伸/我像豌豆和豆子一样伸展。”Fetch the Bolt Cutters的声音不是自上而下的。“她想从最下层开始，”她的吉他手David Garza告诉《纽约客》，“对她来说，最下层就是节奏。”
There’s considerable power in how Appleentertains so many of these wild, inexhaustible impulses. “Don’t you, don’tyou, don’t you, don’t you shush me!” she chips back on “Under the Table.” Shewill not be silenced. That’s patently clear from the start of Fetch the BoltCutters. In gnarled breaths on its opening song—feet on the ground and mind asher might—Apple articulates exactly what she wants: “Blast the music! Bang it!Bite it! Bruise it!” It’s not pretty. It’s free.
Fiona Apple有相当大的力量来满足这么多疯狂的、无穷无尽的冲动。“不要,不要,不要,你不要嘘我!”她在Under the Table中反复唱着。她不会沉默。这一点从专辑的最开头就很明显。在开场曲里她粗糙的呼吸着，Fiona Apple脚踏实地、头脑清晰地表达着自己的想法：“该死的音乐!爆炸吧!撕咬吧!疼痛吧!”她一点都不优雅漂亮，但她自由。

新历史

厉害

支持，上个十年的满分专也是在十年的第一年发行的，不知这个十年能不能出现第二张

看成水果姐

slay

2楼被吞了