But the record, in all its chaotic focus and feral tenderness, still got one unexpected reaction: It inspired the first real-time Pitchfork 10.0 review in almost a decade. Apple is an immensely beloved figure, and an avatar for turning self-quarantined unease into ferocious transcendence, and the mid-April release of Fetch the Bolt Cutters, only her fifth full-length in a nearly 25-year career, was bound to trigger a critical rapture so intense that it has already inspired at least one think piece about the profound alienation of not liking it. On "Bonjour," he throws a subtle dig at Kelis (“Watch who you getting pregnant, that's long-term stressing”), with whom he's been legally feuding for years. Still, Nas’ indirectness is glaring, considering the cloud that the allegations have cast over the album’s release and the candor Nas has displayed on Life Is Good.“Ah, fuck, shit, ahhhhh,” groans Fiona Apple, flubbing a line amid the hypnotic junk-drawer clatter of “On I Go,” and maybe it’s here, with only 70 seconds to go on the last song, where her first new album in eight years finally achieves perfection.
On “Everything,” the album's sparse centerpiece, he disses journalists and bloggers (“To my life, your life pales in comparison,” he snipes) while refusing to address unnamed controversies (“Messiness is not ever the god”). About two months before Nasir's release, the singer claimed that Nas was physically abusive during their marriage of four years.
Yet it’s the woman that he doesn’t directly address-his ex-wife Kelis-that is most noticeable.
On the frenzied “White Label,” he brags about bagging “ Jet’s Beauty of the Week, 1993," while "Simple Things" boasts some more about his dating history. Nas is a bit girl crazy on Nasir. He recaps his sexploits and stories of past and present flames.
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