Details
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. Moth, The
11. It's Not
Album Notes
Personnel includes: Aimee Mann (vocals, guitar, 6- & 12-string acoustic guitars, piano, bass, percussion, tambourine); Michael Lockwood (guitar, 12-string acoustic guitar, baritone guitar, slide guitar, dobro, zither, autoharp, celeste, chamberlin, omnichord, marxophone, harmonium, Mini-Moog synthesizer, Prophet synthesizer, theremin, bass, shakers); Jebin Bruni (piano, chamberlin, Prophet synthesizer); Mike Denneen (Wurlitzer piano, harpsichord); Patrick Warren (chamberlin); Dave Palmer (organ); Jason Falkner (bass); Ryan Freeland, Michael Penn (loops); John Sands (drums, shakers); Jay Bellerose (drums); Darian Sahanaja, Buddy Judge, Rusty Squeezebox, Mike Randle (background vocals).
Producers: Michael Lockwood, Ryan Freeland, Mike Deneen.
Recorded at Sonora Recorders, Hensons Recording Studio and Stampede Origin Studios, Los Angeles, California; Kampo, New York, New York; and QSound, Boston, Massachusetts.
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
Given a set of trials and tribulation that could have been created by Charles Dickens, that fact that Aimee Mann keeps recording albums is something of a surprise, though certainly not an unwelcome one. With her record label problems behind her, LOST IN SPACE is her fourth solo album (not including her contributions to the MAGNOLIA soundtrack). The tracks combine an acoustic sensibility that highlighting Mann's expressive guitar work with occasional an understated electric edge that includes shimmering distortion, all in the service of her rich voice and eloquent lyrics. Standouts include: "Lost in Space," which features a slow, rolling beat and an insistent string section; "Pavlov's Bell," with its alternately plaintive and searing guitar accents; "Invisible Ink," a quietly introspective track that builds to include an orchestral backing; and the comparatively uptempo "The Moth," with background instrumentation from harpsichords and keyboards.
Industry Reviews
...Mann's put a bit more oomph into her songs, adding a touch of guitar fuzz and a dash of controlled chaos in the rhythm section... - Rating: B+
Entertainment Weekly (08/23/2002)
4 stars out of 5 - ...Perfect three-minute slices of classy pop heaven...effortlessly soaring melodies.
Uncut (10/01/2002)
...An album that gets to the dark heart of just what that bright flame of love does to our stupid moth dreams...
Mojo (10/01/2002)
4 stars out of 5 - ...Songs which are wry, funny, adult and perceptive, all wrapped up in handsome melodies....It has the unmistakable aroma of a talent renewing itself...
Q (10/01/2002)
6 out of 10 - ...[The album] maps the mazes that lovers lead each other through...
Spin (10/01/2002)
Ranked #23 in Mojo's Best Albums of 2002
Mojo (01/01/2003)
...Mann's put a bit more oomph into her songs, adding a touch of guitar fuzz and a dash of controlled chaos in the rhythm section... - Rating: B+
Entertainment Weekly (08/23/2002)
Ranked #69 in Mojo's 100 Modern Classics -- Mann constructed a narcotised song-cycle of obsession, addiction and depression: pop bliss cut with the brick dust of wearied experience.
|
)
All rights reserved.
