[review 2005: the disappointments]

Reviewing an album like Fiona Apple’s Extraordinary Machine is difficult work because it comes with its own built-in mythology. It’s even more difficult because, thanks to the internet, there are two widely available versions of Extraordinary Machine out there. The original version, produced by Jon Brion, was leaked while the album’s fate was still in limbo. Sony execs, it was rumoured, had quietly shelved Apple’s third album because it was impossible to sell; thousands of dedicated fans begged to differ. Whether Sony really backed down due to the fan campaign or whether they’d just held the album back until it could be re-recorded the way they saw fit, we may never know; in any case, the final version removes nearly all traces of Brion’s involvement. In his place is Mike Elizondo, who removed most of the orchestral flourishes of the leaked material and straightened out all the kinks to create a classic Fiona Apple album—lots of piano, some angsty vocals, etc., etc.

Because those original tracks are so easy to find online, it’s nearly impossible not to compare the two versions. But let’s leave that behind for the moment and get straight to the point: no matter what version of Extraordinary Machine you listen to, it’s still not a big departure from When The Pawn…, still Apple’s high-water mark. This is a problem because Extraordinary Machine just isn’t as good. The problem is the sameness of it all, and Brion is almost as worthy of criticism on this front as Elizondo. The songs just don’t pop the same way they did on When The Pawn. There are no stormy ballads like “On The Bound” or “Get Gone,” no lightning-quick piano pop like “Fast As You Can,” nothing like a “Paper Bag.” Some tracks come close; “O’ Sailor” works well in both incarnations, as does “Better Version Of Me.” The title track is one of two songs on the final album produced by Brion, and it’s easy to see why they kept his work. It’s Fiona Apple does Into The Woods, with fairy tale flutes and woodland creature woodwinds all over the place.

And here’s why I haven’t really gotten into which producer made the better version: all the tracks that work are equally good no matter who’s behind the boards, and all the less interesting songs aren’t saved by any one producer’s bag of tricks. The major difference between When The Pawn and Extraordinary Machine is the more languid pace on the latter. Apple’s previous album gained its punch from its economy; it seemed like all the details had been placed just right, everything coming together perfectly. The result was one of the most cohesive albums I’ve ever heard. By contrast, Extraordinary Machine is a bit scattershot and a bit loose, and the effect just isn’t the same.

It’ll be interesting to find out whether the same is true of the third version of Extraordinary Machine; Apple is thinking of putting out a definitive Brion version next year.