Welcome to the New York Times

podcast, your firm kick under the dinner table of music news and

criticism. I'm your host John Cara Monica.

Ladies, ladies, ladies.

Our nation's on the lumen effecting the parallax view and the figure and the form and the revolve in the form and the revolving. the

parallax view and the figure and the foam and the revolving door

it keeps turning out more and more

good women like you

yet another woman to whom I won't get through

my nation's on the looon effect on the parallax view and the figure and the foam and the Fianna back, back, about a week and a half ago,

Fianna back, about a week and a half ago,

Fianna Apple returned with her fifth album and is called

Fetch the Bolt Cutters. Personally I spent a lot of time trying to figure out the

ideal emoji sequence to represent vegetable cutters.

Karen was on the receiving end of it, maybe one or two other people.

Fiona puts out a record every few years and vegetable cutters arrived mid-quarantine with a roar very very well

received rapturously received it is a very sui generis record.

Fionna is doing things precusively with the production and also with the cadence of her voice that are new, but very much an extension of the kind of post-blues that she has been

specializing in for many, many, many years.

This album is strong, it is

Visser, it is intense, and we are going to get into it today.

You were listening at the beginning to ladies, which is to my ear one of the best songs on the album and very vivid songwriting very acute emotional awareness.

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