Fiona Apple’s latest might have been a masterpiece at any time, but it’s also a masterpiece of timing.
, Apple’s first album in eight years and only her third in 20, was recorded in her home, its songs built up from clattering percussion tracks that sound as if they could have been pulled together using household objects. Barking dogs and the occasional mewing cat—sounds that have lately become more familiar to many of us than ever—barge in as if she’s left the studio door ajar, and sometimes strange, unidentifiable sounds leak in at the edges, as if her neighbors have left the TV on too loud.
Gathering under one roof to share art with strangers has become a virtual impossibility, and the one Hollywood movie released in the past month has been , which is more like a device for subduing children for two hours than something we can take to our collective hearts.is a salve that meets that unspoken need, willed into mass-art status by the hunger to have something we can share besides uncertainty and fear. Like
, it’s something that would have been a big deal at any time but feels many times bigger because of the void into which it’s emerged., it’s something that would have been a big deal at any time but feels many times bigger because of the void into which it’sas I walked around my neighborhood Friday morning, past the shuttered stores and the people in masks, what kept striking me was not what the album says so much as how it sounds, somehow claustrophobic and roomy at the same time.
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