THURSDAY, SEPTEMBER 12, 2002
MUSIC
THE UNIVERSITY DAILY KANSAN - 5
REVIEW
Mann not 'lost' on album
By Jeff Hayes
Jayplay writer
"Looking warm but feeling chilly," Aimee Mann sings on Lost In Space, released Aug. 27 on her own SuperEgo Records imprint.
The sentiment concisely sums up Mann's allure, as well as the overarching themes of her increasingly impressive body of work.
Her smooth and precise voice almost hides the fact that the characters she essays are lonely, confused, scared, nervous and desperately seeking ways to escape. Mann's skill lies in how she rarely brings these issues to the forefront; the emotions are embedded in the tone and nuances of her vocals. She writes songs that resonate on an internal level, dressing them in attractive, accessible melodies.
The production work on Lost In Space is impeccable. Every instrument falls into place around Mann's voice, while the fluid lead guitar work by producer Michael Lockwood ranges from elastic distortion on "Pavlov's Bell" to the power-ballad solo of "This Is How It Goes."
Lyrically, this is Mann's darkest album,
streaked with themes of drugs, obsession and misery.
The chorus to "This Is How It Goes" nearly summarizes the album's central themes: "It's all about drugs / It's all about shame / And whatever they want / Don't tell them your name."
Almost subliminal production tricks drift through Lost In Space like a mist hanging over the album. The songs initially seem crisp and clear but reveal hidden layers of ambient sound and ethereal backing vocals with repeated listens.
"Invisible Ink," the album's centerpiece, expands and improves on this formula, featuring sharp dynamics and evocative lyrics. It straddles a strange gap between melancholy and acerbic.
The downbeat attitude of Lost In Space should come as no surprise, coming from the woman who penned a love song that began "Now that I've met you/ Would you object to / Never seeing each other again?"
With Lost In Space, Aimee Mann's new indie-label freedom has resulted in her most well-crafted album to date.
Contact Hayes at jhayes@kansan.com.
REVIEW
Rap group lives up to name
By Chris Jones
Jayplay writer
SoundsGood does.
On their self-titled August release, Rapper Joe Good and producer Miles Bonny stick close to common hip-hop lyrical themes without including the shooting of AK-47s and the slapping of bitches.
Their optimism is honest and heavy, yet realistic. Their sly pun, track six's "Beautifool Day," sums up the album's message. It's about making mistakes and accepting that you're imperfect. It's about introspection (track 11: "Self Portrait") and using what you find out about yourself to become a better person. But maybe I'm reading too deeply. The lyrics of "Self Portrait" reminded me at one point of Michael Jackson's "Man in the Mirror."
The disc opens with one of its heaviest tracks, "Bum Bum." It's a fun song with a sing-a-long chorus that is cheesy but catchy. The beat is as lighthearted as the
Go to soundsgood.lawrencehiphop.com to hear some of SoundsGood's songs.
SoundsGood, thankfully, resisted the urge to include skits on this CD (with the exception of the intro), though the temptation to include a hidden track must have overpowered them.
lyrics, featuring a sample reminiscent of the opening arpeggio in The Chordettes' "Mr. Sandman."
SoundsGood does a good job of matching the beats to the lyrics. The only track to stray from optimism, "Leavin' Again," addresses oppression by The Man.
This is a solid hip-hop CD with room for improved fluidity. But Good and Bonny have the strong beginnings of their own style, the maturity to record a hip-hop CD with a basis other than violence and womanizing, and the mike skills to keep you nodding.
Contact Jones at cjones@kansan.com.