The Bottom Line Aimee Mann has a distinctive voice and has since the release of the Magnolia Soundtrack really come into her own. The music isn't for everybody but is definitely worthwhile.
Full Review
It’s not often that I acquire an advanced copy of an album, in the case of Aimee Mann’s Lost in Space I was pleased to find that the album is in fact ambitious and luscious. A great addition to my ever-growing music collection.
Aimee Mann first came to popularity as the voice of 80’s New Wave band ’Til Tuesday. You’ll most likely remember the single Voices Carry as the band’s most popular. Anyway, she embarked on her solo career with 1993’s Whatever. The album helped Mann to come into her own. Her songwriter skills were obvious and her voice was wistful and delicate.
As Mann developed, she released the less perfect, more awkward, and more poppy I’m With Stupid. The 1995 release helped to further her career, but did little to cement her in the minds of critics as a musical force. It was her voice on the soundtrack to the film Magnolia that made the album outstanding. The nine tracks blended wonderfully and helped to drive the film to great success (despite it’s strangeness). The 1999 album proved popular and Save Me continues to be my favorite song from Aimee Mann.
Mann expanded on her work on Magnolia on her 2000 solo release Bachelor No. 2. Some of the same tracks are featured on both albums with both being equally viable. The songstress sounded mature, intelligent, yet soft and fragile. It’s a very good album from a woman who has yet to be awarded the praise she so deserves.
2002 marks the release of Mann’s fourth solo album. Her brand of folk pop continues to shine through on the eleven overall very impressive songs. Lost in Space isn’t her best album. There are two more impressive ones (Whatever and Bachelor No. 2), but as a whole I can’t help but to appreciate her vocal talents and innate songwriting ability.
The songs are sad, emotional, and significantly less mainstream than her first and second releases. Lost in Space certainly represents Mann’s continued maturation and successful use of acoustic and intelligent instrumentation. She’s most definitely an anomaly in an era when women make power pop and teeny-bopper music. Mann possess a talent touched on by very few modern artists. Lost in Space is a seamless and saddening musical journey.
Beginning with Humpty Dumpty, slide guitars, and a wholly appealing melody, the album embarks on an emotional, eloquent journey through the trials and tribulations of Aimee Mann. But, my favorite song is without a doubt Invisible Ink. I adore the stripped down feel of the song with just a voice and a guitar. Few artists can successfully use such a basic formula. As the song progresses, various other soothing stringed instruments are added. On the whole, Invisible Ink represents the best that Aimee Mann has to offer on this outing.
Also impressive is Pavlov’s Bell. The track is about as upbeat as the album gets with an ultimately catchy chorus and occasional electric rock guitars. Mann never lets the song get out of control. It’s roped in and controlled by her slight and understated vocals. It’s difficult to not appreciate the song and the artist as a conduit through which messages of pain, addiction, and at last disaffection are conveyed with grace and ease.
The Moth might just be the most upbeat offering on the album. It’s sing-songy in a very indie pop way. It’s a clap-along anthem of sorts with references to an inability to control oneself through the moth metaphor. It’s not the best song, but I can really appreciate the lyrics and at times musicianship present. The Moth also represents something that I don’t necessarily enjoy about Lost in Space. I at times find myself bored by Mann. The songs all seem to blend a bit too well into one another with almost never varied vocals and stringed instruments.
The title track, Lost in Space, at times hints toward electronic leanings while still incorporating a slide guitar and folk tendencies. The song is rather depressing in a shiny, peculiar way.
Aside from those songs I do in fact enjoy, there are those that seem to lack any direction and drive. Adept musically, they lose purpose when assembled on Lost in Space. It’s Not is cute and modest, but not particularly interesting when tossed in amongst really powerful songs. The synthesizers on This is How It Goes might have made it a standout, but when the other elements are layered on top the song just sounds repetitive and forcefully simplistic. Finally, Real Bad News starts out spookily and strangely and as it progresses sounds a bit boring and lackluster.
On the whole, I like Lost in Space. As I’ve already mentioned Mann has had been albums. But, the fact that this is a self-released album and the fact that she has been freed of all her earlier album wrangling (bankruptcy, battles, etc…) it is a better than average attempt. If you’re just beginning your journey through Mann’s work, turn to Magnolia or to Bachelor No. 2 or even to Whatever. If you like her other albums, you’ll certainly find great merit in Lost in Space.
Aimee Mann is a talented singer/songwriter. There are few artists that can so successfully do their own thing and find acceptance. She possesses a distinctive voice and musical style that should last her well, though it will probably also alienate listeners looking for an upbeat, fun kind of music. Aside from that little qualm, I give this album 4/5 stars and recommend it to fans of female singer/songwriters and those who already enjoy her music.
Rating: 4/5 stars
Track Listing:
1. Humpty Dumpty
2. High On Sunday 51
3. Lost in Space
4. This Is How It Goes
5. Guys Like Me
6. Pavlov’s Bell
7. Real Bad News
8. Invisible Ink
9. Today’s The Day
10. The Moth
11. It’s Not
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