But even the emotional and aesthetic derring-do of her four previous albums could not prepare listeners for the shock of “Fetch the Bolt Cutters,” an achievement of bracing intensity recorded over several years, mostly in the seclusion of her Los Angeles home. Like a distant planet unhurried in its orbit, Fiona Apple returns every seven or eight years to present whatever wisdom she’s gleaned from another trip around the sun. (Natalie Behring/Getty Images North America/TNS) Intensely personal work swelled into large-scale statements this year, and women often led the way, revealing scars left by different kinds of emotional and political skirmishes, and reinforcing that their voices must be heard.įiona Apple performs at Newmark Theater on Octoin Portland, Oregon.
But the unifier is Trifilio’s voice: sweetly pleading, sweetly exasperated, sweetly resigned, sweetly vengeful.Ģ1 Savage and Metro Boomin, “Savage Mode II” Benny the Butcher, “Burden of Proof” Natanael Cano, “Trap Tumbado” The Chicks, “Gaslighter” City Girls, “City on Lock” Code Orange, “Underneath” Conway the Machine, “From King to a God” Drake, “Dark Lane Demo Tapes” Freddie Gibbs and the Alchemist, “Alfredo” Ariana Grande, “Positions” Hardy, “A Rock” Haux, “Violence in a Quiet Mind” Ian Isiah, “Auntie” Junior H, “Atrapado en un Sueño” King Von, “Levon James” Lil Durk, “Just Cause Y’all Waited 2” Lauren Mascitti, “God Made a Woman” John Moreland, “LP5” Jessie Reyez, “Before Love Came to Kill Us” Dua Saleh, “Rosetta” Sunday Service Choir, “Jesus Is Born” Myke Towers, “Easy Money Baby” Jessie Ware, “What’s Your Pleasure?” Waxahatchee, “Saint Cloud” The Weeknd, “After Hours” Hailey Whitters, “The Dream” YoungBoy Never Broke Again, “Top” She fronts Beach Bunny, a Chicago band that toys with flickers of garage rock, pop-punk and indie rock.
Lili Trifilio writes chirpy songs about awful sadness. Lili Trifilio has recently been focusing on a new solo project alongside her work with Beach Bunny which is kind of on pandemic hiatus, Friday, Sept.