Customer Reviews

Lost in Space

5 star:		(90)
4 star:		(33)
3 star:		(4)
2 star:		(5)
1 star:		(2)

 

 

It seems like forever since Mann's last record 'Bachelor No. 2', although in reality it's only been a year. Yet again she proves herself with a collection of songs that's not only excellent but also articulate and intelligent. The album starts with the superb 'Humpty Dumpty', with an almost nursery rhyme chorus that seems appropriate to the tune. Aimee also tries her hand at a country lilt on 'High On Sunday 51'. Of course, it would be impossible for me, a hardened fan, not to like anything that she's made and whilst this probably isn't quite as good as last year's 'Bachelor' it's still by far the album of the year and is unlikely to be beaten. I know that fans have looked to it in great anticipation and Mann has, as usual, delivered. Using a large variety of styles, especially on the superb 'Lost In Space', every single song delivers.

However, despite it being easy to talk about the catchy tunes and the fact that Mann plays her own instruments and uses different styles to achieve the desired result, there will not be one person out there who buys this album who doesn't end up reading through the lyrics. This is certainly something of a gift where Mann manages to articulate exactly what you yourself have been thinking but have been able to put into words, despite keeping her records remarkably personal. Something like 'The Moth' isn't just a good song in its own rights but lyrical genius because it hits the nail on the head. Doubtless others who listen will find the Aimee Mann song that defines them at this moment in time and this is why she's become such cult listening to anyone who's heard of her (which is sadly few). And despite her intelligent lyrics this does't dilute Mann's ability to write a piece of music that's incredibly poignant, such as on 'This Is How It Goes' or 'It's Not'. Whether she's world-weary, upset or smiling Aimee Mann is one of the most talented songwriters that I have ever heard and no doubt will go on making records to great critical acclaim. As a side note to anyone reading this review - congratulations, you have found Aimee Mann, may your lives be better for it.

I am in love with Aimee Mann. Seriously. Amidst all of the glamourpuss posturing of the majority of pop girlie icons, there exists a select number of truly poignant and magical female songwriters that are churning out tunes that capture the helplessness and confusion of our generation. I would venture to say that among them, Aimee Mann rules as queen.

This is not the sweet interplay between love and anger a la Sarah McLachlan, nor is it the goofy yokul cum pop princess coquetishness of Jewel. This is bare bones grief, confusion and longing, all balled up in Mann's beautifully understated voice, subtle acoustic strumming and plucking, and perfectly buoyed up by fabulously raw production values.

"Lost in Space" is truly a thematic album. Nearly all of the songs deal with feelings of dissapointment, nonconformity, and the struggle to find meaning or lasting happiness. Some may find this as depressing. I see it as sheer poetry, as I often believe the best writing/drama comes from struggle and conflict. Nearly all of the best lines from the songs have been previously quoted, but needless to say, these are some of the best love songs in recent years, and they're not happy. "Lost in Space", "It's Not", "Today's the Day" and especially "High on Sunday 51" and "Pavlov's Bell" are pure pop rock gems, devoid of obnoxious noodling guitar work or ridiculously overt drum fills.

Most importantly, Aimee Mann is intelligent enough to not tell us how smart she is. Where some lyricists seek to pronounce their erudition by shamelessly ripping lines out of the popular literature of the day (Incubus, Sting, Rush), Aimee is content with painting portraits of diverse characters. Rather than merely talk about her many romantic conquests (John Mayer, Ashlee Simpson, pratically every new songwriter), Aimee inhabits the bodies of a number of characters, and we're sure to find ourselves among them. And she tells the stories with a brazen honesty: that life sucks sometimes, but it's okay. To quote a song from the album, "this is how it goes."

My only niggle here is that the album isn't longer. It reaches an emotional peak with "Today's the Day", then finishes with two fantastic, if brief pop tunes. I was hoping for something bigger, such as the tunes from the Magnolia soundtrack, but we can't have everything, can we? In short, a fantastic album, and worth every penny. You can listen to it over and over for hours and feel the same emotions. Go buy it.

Aimee Mann's latest is the second released on her own finger-to-the-recording-industry record label, SuperEgo. Mann has been described by many as one of the greatest songwriters of our time and rightfully so. Her songs are portraits of people and situations that most people run from much less base a career in music on. And Lost In Space is her most candid piece yet.

At first listen, the album seems to be her most laid back lacking the crunchy guitars of I'm With Stupid and the Burt Bacharach stylings of Bachelor No. 2. In their place are quiet melodies and arrangements containing a multitude of instruments and sounds (in part to sonic-loving co-producer Michael Lockwood) that lift Mann's pop sensibilities into a new level of character development and make for an incredible listening experience.

Songs like "Real Bad News" and the lovely "Invisible Ink" are bolstered by orchestral arrangements, a device Mann has not experimented much with and is very complimentary to her writing and her voice; however, it's songs like "Humpty Dumpty" and "Pavlov's Bell" (one of the best denial songs since 10cc's "I'm Not In Love") where Mann really shines, as she does most brightly on the title track. Mann sardonically intones, "So baby beware/I'm just pretending to care/Like I'm not even there" as a person so cold to the world they have lost even themselves. Aimee Mann is like a mirror put up in front of all the messed-up people in the world. You just don't get any more honest than that.

Aimee Mann's "Lost in Space" had the unfortunate problem of being released after the fantastic "Bachelor No. 2" and "I'm With Stupid", and suffers in comparison. Its not that its not a superb album, on the contrary, there's quite a bit of great material here, its just that it had a lot to live up to.

What's most immediately noticable is a feeling of relaxation and confidence in these pieces, be it the magnificent throbbing "Humpty Dumpty" (with completely magical vocal harmonies), the subtlety of the playing on "This is How It Goes", the incredible guitars, strings and vocals of "Pavlov's Bell" or the unnervingly brilliant countryish "The Moth", it sounds as though Mann has finally found the sound she wants.

There is some experimentation that goes awry on this one ("High on Sunday 51" is Aimee does blues and doesn't quite work, and "Real Bad News"'s pacing makes it lethargic), and there's enough unmemorable material to impact opinion of the album, but again, this may be a side effect of coming after two great albums, and there's certainly enough good material here to make it worth the investment, but I'd recommend the special edition with its bonus disc full of live tracks, b-sides, and unreleased tunes over this one.

Aimee Mann's Lost in Space is unquestionably one of the most compelling, intelligent, and thoughtfully produced CDs of 2002 or any year. It's ironic that an artist who's struggled for years with record companies seeking only 'hit singles' has crafted an album or such quality that virtually any track would qualify for single status. My vote goes to either 'This is How it Goes' or 'Today's the Day' but any of the 11 cuts on this masterpiece would make the grade. Every aspect of this project demonstrates the dedication and commitment surrounding Lost in Space, from the superior packaging and art work, which puts almost any mass marketed CD to shame, to Aimee's first-rate Web site, which features full length versions of every song on the album and striking art work. Thank god Aimee Mann has gone the independant artist route, producing her last two albums on her own label. Record company management doesn't deserve someone of this talent, and her fans are better off for her independance.

Lost in Space marks the first time Aimee Mann and Jon Brion don't collaborate to make an outstanding album (see I'm With Stupid and Bachelor No.2). LIS relies instead on the production of Michael Lockwood, and the results are obvious. Gone are the whimsical and catchy pop melodies and freakish circus-side-show-style sound effects (if you're a fan, you know what I'm talking about). Instead, LIS brings dark and spacious pop that's not quite catchy but definietely great to chill-out to. The suberb lyrics and song-writing of Mann are still there and as good as ever, but this CD has a much different sound than her previous albums. Unfortunately, the lack of any radio-friendly single that sticks in your head all day (and brings you back wanting more) puts LIS in the "mood music" category and removes a star from Mann's automatic five-star rating.

Personal Note: The best song (IMHO) is Today's the Day. Also, I don't think the new production is bad, just different. Before, I compared Mann's music to that of Belle and Sebastion--depressing lyrics covered by uplifting melodies. However, in the new style, Mann's lyrics now match the music. They also match the CD artwork more than any CD I've ever bought in my entire life. The ennui of the comic art complements the moody music and lyrics perfectly, almost to the point of bringing tears to my eyes during the first listen.

Most reveiwers, when they talk about Ms Mann, mention her struggle with Geffen, her connection to Magnolia, her Til Tuesday affiliation...and while I must believe all these salient facts have contributed to this sublime record, i also would like to point out that the quality, the integrity of this music transcends all those quaint little facts. When i'm riding down the highway with this cd coasting along with me, doing seventy and feeling like I'm breaking the sound barrier, well i'm just not thinking "That Aimee, she battles the corporate world like a tigress. I wonder if she understood that scene with all the frogs?"
NOt that I don't have enormous respect for her battles, not that I don't believe those battles are inside the lyrics i'm almost screaming along with-I KNOW all about all the drama of her career. I think she's handled it admirably. I think she's a role model and a warrior and all that pro-femina stuff. But these songs are so universal in their recognition of the pitfalls of human nature and the disappointment with coming to terms with that condition-well her songs are somewhat bigger than her singular experience. The resigned beauty of her voice, the sly wit of her song writing, the wink and grin at knowing the truth but wondering if the knowledge makes any difference at all-it erases, momentarily the ignorance of Geffen, the ignorance of anyone that can't hear this woman and know she's a genius. It leaves the listener free to contemplate her own journeys with one of musics most able guides.
Like any great record, you can listen with the artist's reality in mind or you can fuse the lyrics and music to your own landscape-either way you're left invigorated and elevated.

Being an Aimee Mann fan is great. Whatever she offers up for us to enjoy she never misses. "Lost in Space" is another great release from the former Til Tuesday voice.
All of these songs have separate identities giving Mann a chance to whisper her way through songs as well as wail like mad ... see "Pavlov's Bell". With the success of the Magnolia soundtrack, Mann is finally getting the recognition she's deserved for years. "Lost in Space" covers everything from corporate rock topics to relationships to everything in between.
The band is tight and the orchestration that's used fits nicely. If you get the CD version of this release look for the booklet attached to the front cover which includes great artwork in storybook form of each song. If you're looking for another great Aimee Mann release, check out "I'm with Stupid", which was released back in 1995. The songs have a little more upbeat tone with songs like "Superball" leaving a lasting impression.
Since her days with Til Tuesday, Aimee Mann has managed to release such an excellent body of work. If you're a true fan ... you already know that. In the meantime buy this CD, it's a great listen anytime you need to hear some intelligent well-crafted music.

How do you follow up a masterpiece like "Bachelor No. 2?" Well, most artists would throw their hands in the air and follow it with a subpar album, knowing that the fans would buy the CD not matter what. But not Aimee Mann! Note-for-note and word-for-word, this CD matches the unabashed brilliance of Aimee's previous release.

From the first line, "Humpty Dumpty" is nothing less than captivating. And "The Moth" may very well be a perfect pop song-- profound, simple and thoroughly engaging. Aimee even rocks a little more than usual on "Pavlov's Bell," a curiously smart song. In fact, all of these songs range from very good to fantastic. (Not a turkey in the bunch!) I am surprised at how satisfying this CD is. In fact, I was all set to be gravely disappointed with it, because I was already comparing it to "Bachelor No. 2," even before I heard it. DO NOT MAKE THAT MISTAKE.

"Lost in Space" is a worthy successor. It is a wonderful listen. It is pure Aimee Mann. Buy it, buy it, buy it!!

"Lost In Space," like most of Aimee Mann's albums, perfectly captures a feeling. The mood of "Lost In Space" feels exactly the way the CD cover looks: dark, lonely, cold, creepy, sad & soothing- all at the same time. These songs seep into your soul and unnerve you. I think it's a perfect follow-up to "Bachelor No. 2" in that it is just as impressively penned and performed, yet paints it's tales with a deeper, blue-er palette. Both "Bachelor" and "Lost" envelope you in their unique aura and leave you deeply moved. That's what great art does.