Aimee Mann’s ‘Bachelor No. 2‘.

Right around the time she did the Magnolia soundtrack, I fell hard for Aimee Mann’s solo career. Something about the place I found myself in my life combined with the smart and scathing songwriting she’s so great at just broke my brain in the best way and I was infatuated. Ever since, I’ve studied her successive albums and pored over every note, every chord change, every sardonic and heartfelt lyric. Her music’s changed the way I think about songwriting in a way that few other influences can claim.

Bachelor No. 2 (Or, the Last Remains of the Dodo) is quite possibly the canonical collection of songs that exemplifies the best parts of her craft. There are a ton of songs among the albums that followed that absolutely crush me, but the set that appears on Bachelor is so perfectly organized that it defies understanding. From start to finish, it swings poppy hooks tempered with the gravity of lyrics that paint pictures from the cheeky to the utterly melancholy. The vocal tracks are layered in such exquisite ways and the songs move along at a perfect pace, carrying you to the end of the album without even realizing how you got there.

She’s an incredible artist, and continues to release fantastic work. But Bachelor is the album I return to time and time again to wallow in a perfect sadness, surrounded by brilliant song structure and melodies. I was listening to it again today for the millionth time and wanted to put some thoughts down on it. If you appreciate great songwriting, it’s worth your time.

Author: Seth Clifford

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