Fiona Apple Returns Better Than Fine On Extraordinary Machine

It's quite ironic how so many record labels claim to work in the best interests of both their artists and their fans when in reality, their selfish motivation leads them to letting the Almighty dollar have the final say on any major decisions regarding one of their artists. Case in point: Fiona Apple.

When pop music's resident "misery chick" turned in her 3rd album to label, Sony Music, they quickly rebuffed it, labeling it "unmarketable". Reps cited the album's un-radio friendly sound making it a money pit to promote since they claimed not one potential single was to be heard and they were sure radio programmers wouldn't think twice about the record. So with the fear of having no hit single compounded with Fiona's obstinate refusal to record any new material, the album was inevitably shelved.

Months later, while the album collected dust in Sony's vault, word leaked to antsy Fiona fans about the status of the album and online chaos ensued. Blogs and messageboards were flooded with thousands of posts and rants from angered Fiona fans who demanded Sony release Fiona's project ASAP. Once Fiona saw the fan reaction to her rejection, she became inspired to somewhat compromise with her label in hopes of rewarding her fans for their steadfast devotion.

She re-entered the studio with hip-hop wunderkind Mike Elizondo, recorded new versions of the same tunes she composed with legendary producer Jon Brion, sent the finished project to her label, and they caved. And, as of October 2005, the world has had access to Fiona's 3rd masterpiece, Extraordinary Machine.

Now saying this album was worth the wait is a definite understatement. Even though it's been 6 agonizing years since Fiona's last album, ?'s When The Pawn Hits…, Extraordinary Machine sounds like Fiona has not skipped a single beat. The album is fairly consistent of Fiona's signature, piano-based, high-end, adult-contemporary pop laced with just the right levels of pretentious, aggrieved, self-deprecating lyricism, managing to be introspectively deep and/or frustratingly cryptic in all the right places.

What's really interesting about this project is Fiona's choice for a producer. As stated, she initially recorded the album with the legendary Jon Brion (who has become Kanye's musical accessory of choice as of late) and both the album opener and closer and the two creations of theirs left over from that initial recording process included to show, I'm guessing, both what initially was and what ultimately could've/would've been. The title track is definitely one heckuva album opener and the most interesting listen you could only expect from Fiona.

Abandoning her standard piano-based arrangement in favor of, I kid you not, a dose of Oompa-Loompa-esque chamber pop, Fiona takes on a more lighthearted and playful vocal tone as she describes her the makeup of her psyche and what makes her tick. And album closer, Waltz (Better Than Fine), is just that; a bouncy waltz that has Fiona describing how she's simply better than fine.

Those two tracks aside, the rest of the project was helmed by Mike Elizondo. And considering the man is best known for producing artists like 50 Cent, Eminem, Snoop Dogg & Dr. Dre, he and Fiona seem like an unlikely combo, to say the least, on paper. However, on record, Fiona's sound doesn't deviate too far from her norm, Mike simply enhancing the atmosphere and adding a little bounce and flavor here and there. Get Him Back benefits from the discordant piano and rubbery bassline while Fiona exacts bittersweet revenge on an ex-beau.

Better Version of Me sounds like an in-house 70s jam session, complete with tambourine, that has Fiona allowing a failed relationship to mold her into a better person instead of leaving her a broken mess. Then Fiona takes us by surprise yet again when she flirts with hip-hop itself on Tymps; Mike implementing handclaps and mellow bass for a backbeat that makes Fiona sound like she could bust into a two-step at any given moment. And there's even a slight nod to 70's AM rock on Please Please Please, even though Fiona's lyricism is probably much more pretentious and absurd than anything that emerged from that decade.

But as a line from that song states, for those who don't particularly fancy the more experimental Fiona and want 'something familiar…something similar to what (they) know already, can look to her signature piano ballads, such as O' Sailor, Oh Well and Parting Gift for solace; all three tunes treading familiar lyrical ground as well, Fiona expressing a nice balance of anguish and disgust over yet another failed relationship.

And then there's Window and Not About Love for those who like their piano ballads with a little spice; both using drum-arrangements simulating chugging trains to mimic the slow progress of pain and heartache coursing through her veins.

All things considered, Fiona Apple has not changed much in her 6 years away from the spotlight. She's still the troubled young woman who has yet to completely rid her mouth of the awful taste numerous failed relationships have left behind. She still has trouble forming complete sentences without confusing the hell outta you. And she still doesn't give a damn and manages to come out of all this wreckage better than fine.

So do yourself a favor and pick this album up immediately. It ends anything but bad and I'm sure you'll love what she started.