This week Fiona Apple
released her new album, “Fetch the Boltcutters” to much critical acclaim. When I
say ‘much’ I’m not even remotely close to the level of enthusiasm expressed;
Paste Magazine gave it a 9.6 and Pitchfork outdid even that with a perfect 10.
I’ve never been a big Fiona Apple fan but decided with ratings like those I
better see what all the fuss was about.
Turns out the fuss was –
as it often is with critical darlings – that the album was “brave” and “experimental”.
It was both these things and featured
many a clever turn of phrase and thoughtful lyric (the album title not least
among them). Just don’t expect a review of it to show up here. It was solid,
but it wasn’t for me. I’m a little old school in that I think music should be
played from the heart, and regardless of genre, it should move you.
On to a record which –
despite getting a miserly 7.0 from both sources above – does just that.
Disc 1361 is…. Expectations
Artist:
Katie Pruitt
Year of Release: 2020
What’s up with the
Cover?
It looks like someone has knocked all the stained glass out of a church window and
let nature come streaming in, all laden with butterflies and sunflowers. The
effect is…well, it’s beautiful.
Regardless of your views on religion stained glass can also be beautiful,
so don’t go smashing it, unless you’re doing so metaphorically.
How I Came To Know
It: I
read a review and despite the relatively low rating, I decided to give it a
shot.
How It Stacks Up: This is Katie Pruitt’s first album, so not
only does my collection not have anything to stack it up against, neither does
anyone else’s. Unless you’ve got some random independent EP or mixed tape. That
seems like it probably exists somewhere. Not here, though.
Ratings: 5 stars
Unlike “Fetch the Boltcutters,” Katie Pruitt’s “Expectations” is not
experimental, but it is just as brave and then some. Pruitt lays her soul bare
on this record, tapping into deep personal angst and experience, and a whole
lot of love. In the process she has created a record with the power to move
multitudes.
Pruitt’s style is rooted solidly in the contemporary Americana movement,
blending rock, folk and country in a style heavily reminiscent of Brandi
Carlile, with a dose of Patty Griffin thrown in. I mention those two singers fully
aware that they are heavyweight vocalists, because Pruitt’s voice is every bit
as glorious. She has the pure power of Carlile and the well-placed folksy warble
of Griffin. She even demonstrates a slight rock growl when she opens up, which is
a welcome addition.
This rock growl is even more noticeable on her live performances, and
while present on “Expectations” the record generally opts for a light touch on
the production, leaving lots of space. Sometimes the songs soar and expand into
that space as they develop, and sometimes they are left empty, so the import of
her message can sink in more quietly.
Pruitt is still young (26) but she has an old soul, and her debut album
demonstrates the maturity of someone who has spent her time on planet earth well,
figuring herself out. The songs are heavily influenced by her journey as a
young girl growing up in a religious family in the American South (Georgia), coming
to terms with her own beliefs and sexuality.
There are a lot of songs on this theme, and it would have been easy
to wind up with an album lacking range, but Pruitt deftly avoids this. In part,
she does this through varying the composition and tempo of the songs. They have
a cohesive style, but within that style Pruitt explores different melodies,
strum patterns and arrangements that keep you constantly attentive.
However, her big secret of success is no secret at all; she sings from
the heart. Every song is a gut wrencher, and there were multiple times (even on
later listens) they had me tearing up with emotion. These songs are deep in
Pruitt’s bones, and as you listen, they sink into yours as well. I’ll never
know what it feels like to grow up gay, working through all the doubts and fears
of how to resolve that internally, let alone to a religious family. But listening
to Pruitt is about as close an approximation you can get. Her songs are deeply
empathic, and if empathy isn’t the first goal of art, I don’t know what is.
As best she can, Pruitt takes you on the journey with her, through songs
of doubt like “Normal”:
“Stumbling around Athens frat boys were in hot pursuit
Left me staring at the ceiling pissed off and feeling used
Wasted and worn out and wondering where do I fit?
And scared as hell ‘cause I knew I was different.”
Through to songs of triumph like “Loving Her”:
“If loving her’s a sin I don’t wanna go to heaven
No there’s nothing up there that I could need.”
Pruitt’s vocals are perfect for the journey, quiet and confessional when needed,
and big and brash as the story blossoms. It may be her personal journey, but
these songs swell up under you like a wave and carry you with them.
While the record is intensely personal, there are plenty of universal
themes. “Searching for the Truth” is for anyone who has ever felt heartbreak
and “My Mind’s a Ship (that’s Going Down)” is about the lack of
certainty we all feel as we make our way in the world.
Ultimately, all the themes are universal, because Pruitt does such a good
job of inviting you in, it quickly feels like home. Don’t be afraid to go in
there, either. Pruitt has created 10 powerful and songs sound painful on the
surface, but deep down every one of them is about plain old love. And you don’t
need a pair of bolt-cutters to access that. You just need three chords and
the truth.
Best tracks: all
tracks
No comments:
Post a Comment