“Philly Sinks” This would have fit very well in “Magnolia.” It shows Mann at a peak, capturing the thoughts of a troubled alcoholic womanizer. Mann sings, “You look around and think, ‘I’m in the right neighborhood,’” subtly adding the cutting aside, “But honey, you just moved in.” “Patient Zero” This is a terrifying tale of checking into an institution and perhaps not being allowed to ever leave. As I write this, the way the bass bursts in from time to time seems to be grabbing my ear. With each repeated listen, a new detail comes into focus. “Goose Snow Cone” This is an immediate Mann classic. Aimee Mann continues to be one of the most gripping storytellers writing music today. It’s a deceptively subtle record, but it is also extremely rich with narrative flourishes. “Mental Illness” gets to be a warmer record on repeated listens. The details spelled out in the majestic “Philly Sinks” definitely grab your attention. She’s virtually whispering lines in your ear and charting out character studies like a great novelist. The piano and orchestral work on “Poor Judge” immediately grab your ear as do the lush guitar textures on “Rollercoasters” and “Stuck in the Past.” This is among Mann’s most intimate work. You may find yourself getting lost in this album’s sonic textures. It is interesting to note the bell that begins lead single “Goose Snow Cone.” In some ways that touch recalls the ghostly-chimes that begin Mann’s Juliana Hatfield-assisted classic, “You Could Make a Killing,” while “Patient Zero” is a wonderfully detached narrative that is both compelling and menacing at the same time. Where her last solo album, “Charmers” five years ago was bright, downright synthy offering, this record is firmly planted in mature soundscapes. At 38 minutes, this is one of Mann’s tightest and most succinct sets to date, focusing on low-key, sharp-tongued songwriting. Yes, sonically, it does share a lot of the same feelings as “Lost in Space,” in particular, but this record is likely to be pinned as a sad one, when in truth, it is quiet, but never truly morose. Quicklist: 2title: Aimee Mann’s “Mental Illness” ****text: It is tempting to call Aimee Mann’s new album, “Mental Illness” a return to the dour, thought-provoking and inward-looking work of her “Magnolia” / “Bachelor No. It is still a worthy endeavor and worthy of a recommendation. In the end, this is another decent offering from Dylan even if it is ultimately somewhat forgettable when compared with his original work. How many other versions of “As Time Goes By” do you already know? Probably many. Sure, he probably wants to pay tribute to songs he heard throughout his youth, but considering he just won the Nobel Prize for his own writing, hearing him do these songs seems like a bit of a wasted move. He does the majority of these 30 songs justice, but these songs have been done repeatedly by other artists. Was 2012’s “Tempest” his last album of originals? These late-period records provide a momentary fascination, but Dylan’s own, unique poetic sense is missed. It makes you wonder what Dylan’s game plan is here. No one has probably ever been listening to “Blood on the Tracks” or “Blonde on Blonde” and said, “I wonder how this guy would sound singing ‘Sentimental Journey’ or ‘Stardust.’” His version of “Stormy Weather,” for instance actually sounds foreboding, and this kind of reading of these songs is infinitely more compelling than the average cover treatment they usually receive.Īt the same time, this album and its two immediate predecessors aren’t the kind of records that Dylan’s fans probably expect or even want. It is fascinating to hear Dylan’s signature, scraggly voice singing these songs we are used to hearing perfectly crooned. Like the previous two offerings, the end results are more interesting in practice than they might seem on paper. This follows the similar thread as 2015’s “Shadows in the Night” and last year’s “Fallen Angels.” It’s not that this album doesn’t sound all right. “Triplicate” is a three-disc collection of American standards. Quicklist: 1title: Bob Dylan’s “Triplicate” ***text: I’m not sure what Bob Dylan is doing with his career at this point. — - intro: This week Bob Dylan drops a three-disc album of American standards, Aimee Mann releases another collection that is sure to be a high-point in her discography, Nelly Furtado drops a dynamic comeback album, the members of the metal-band Mastodon release a new album, electronic and dance duo Goldfrapp blend hard and delicate sounds and Richard Edwards of Margot & the Nuclear So and So’s goes solo.
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