Mannly music

More on Aimee Mann's music. I've realized that I cannot appreciate her songs completely when I'm in high spirits. Perhaps it's that twinge of sadness that runs through her material, the way her voice lingers just a moment more than you expect, that tells you all is not as chirpy as the melody suggests. Or maybe it's how you feel she identifies with and expresses pain that's somehow comforting; you feel that she's on your side. Of course, her lyrics are often sarcastic, and sometimes downright blunt - "As we were speaking of the devil, you walked right in" - but as with most music it's the sound itself that carries the emotional tone.

The great thing though, is that it manages avoid falling into the other extreme of despondency by keeping the arrangement and textures light, and the instruments clearly separated. Mann's "Little Bombs", for example, is a shuffling, stifling, introspective number that recalls Natalie Merchant's signature sound, without the overbearing gloom that sometimes afflicts the latter's work. I can just imagine the song in Merchant's Ophelia or Motherland albums, being dragged down by a host of strings.

And Aimee manages this delicate balancing act so expertly throughout her sonic musings. Sweetest in its tragedy, most delicate in its bitterness, she mixes cynicism beautifully with tenderness, resulting in some of the most surprisingly palatable pop I've come across. Just not when I'm perfectly happy...