[.Mp3.] Alanis Morissette Such Pretty Forks in the Road Album Download Such Pretty Forks in the Road is the upcoming ninth studio album by Canadian-American singer-songwriter Alanis Morissette, set to be released on July 31, 2020, through Epiphany Music and Thirty Tigers in North America, and by RCA and Sony Music in the United Kingdom and Europe.

As with the rest of humanity, Alanis Morissette’s big plans for 2020 haven’t quite worked out. With the hit musical of Jagged Little Pill running strong on Broadway as the year began, she was going to release her first album in eight years, the wrenching Such Pretty Forks in the Road, in May and then tour for the 25th anniversary of her debut. The new album is still coming out — now on July 31st — but the rest of it has evaporated. “It’s the classic stages of grief,” says Morissette. As for the nearly decade-long wait between studio albums, there’s an all-too-simple explanation, she adds with a laugh: “I think it’s straight-up having three children.” (To hear the entire interview on the new episode of our Rolling Stone Music Now podcast, press play below, or download and subscribe to the podcast on iTunes or Spotify.)


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Album Link :::- https://www.enjoyfreemusic.xyz/p/download-alanis-morissette-such-pretty.html


The introspection of your new album feels well-suited to the times. What was your thinking in delaying it from the spring?
I just thought it intuitively doesn’t feel right to be putting a record out about one woman’s crisis when we’re in the middle of a pandemic. I got a 50-50 reaction depending upon which friend I told that information to. One would say, “Yeah, wait, please. I can’t take any more.” And then other friends said the total opposite thing: “Are you kidding me? I want to lose myself in your story and in your words.”

Alanis Morissette was famous for being angry. For her legions of young female fans in the Nineties, her third album Jagged Little Pill was an outlet for their own rage – rage they’d been forced to swallow on too many occasions. For certain critics, it was emblematic of “feminist hysteria”, to which they responded with derision and mockery. She didn’t mind. “If I were to be violently and rudely one-dimensionalised the way that was happening during that time,” she said in a recent interview with The Independent, “I’ll take anger. I think anger is pretty amazing.”

But Such Pretty Forks in the Road, her first album in eight years, is less a diatribe than a post-mortem – a one-woman dissection of breakdowns, addiction, insomnia, depression and motherhood. She sings with a profound matter-of-factness while demonstrating the full power of her unmistakeable voice, making for one of her best-ever records.

Having Jagged Little Pill adapted as a stage musical seems to have influenced the jaunty piano chords and narrative storytelling on “Reasons I Drink”. Morissette emulates Broadway veteran Idina Menzel, belting the chorus then plunging down to her deepest register. The result is thrilling. The song itself is an astonishingly candid exploration of why people turn to substance abuse or other kinds of addiction; she doesn’t attempt to offer a solution, only a plea for understanding.

Morissette has spoken in recent interviews about suffering from post-partum depression, and doesn’t shy away from the topic here either. “Ablaze”, a highlight on an album of highlights, is devastating and visceral, bringing in biblical imagery to explore the unbreakable bond between mother and child. “My mission is to keep the light in your eyes ablaze,” she sings to her son. “I am here hell or high water,” she tells her daughter. “Diagnosis”, with its mournful violins, is the relief that comes with being able to put a name to a previously indescribable condition.

Each song on the record has been produced with the utmost care, aided by producers Alex Hope (Troye Sivan, Carly Rae Jepsen) and Catherine Marks (Foals, The Big Moon). You can feel the weight of the piano keys and sense the reverb on the mic, or its absence when Morissette lays her isolated vocals bare to stunning effect on “Her”. Opener “Smiling” nods to Radiohead’s “My Iron Lung”; Morissette’s lilting vocal melody in particular recalls Thom Yorke’s keening falsetto.

“Nemesis” is a bold venture away from the relatively simple instrumentation that forms most of the album. It plays out like a dance track, unfurling with dramatic drum rolls into a pulsing rhythm with spaghetti Western flourishes. With the orchestral closer “Pedestal”, she offers a ruthless anatomy of her own insecurities, convinced her partner will eventually stop craving her. Morissette was perennially undervalued at the height of her fame. Let's hope the same doesn't happen with this superb album.

I was just trying to keep it together,” she sings on the opening track “Smiling,” introducing us to an individual who’s doing what they can to put on a brave face. Morissette’s haunting vocal style is so full of emotion it’s theatrical, but none of it is a show. A quarter of a century has come and gone since the release of her popular album in 1995, Jagged Little Pill, and Morissette has had some time to reflect.

“To my girl, all your innocence and fire: when you reach out, I am here, hell or high water,” she continues on “Ablaze.” Jagged Little Pill was put out when she was only 21 years old -- hardly old enough to drink, much less grapple with the hurdles that the music industry in the 90s could throw at a young woman. Singing to her younger self, she’s more easily able to recognize the turbulence of it all.

And indeed, the album moves into tracks like “Reasons I Drink,” a bluntly titled song that drags us through all of the pain, torture, and heartache hitting the bottle can cause.

“Call me what you need to make yourself comfortable,” she sings on “Diagnosis,” another gut-wrenching track that announces a form of defeat -- of finality. If you can’t beat them, join them.