The Magnetic Fields - Distortion (2008)
8/10
It seems that modern music journalism is pre-occupied by comparison. Every essay, review or précis endeavours to find the musical equivalent from any given musical era, the mean root to the creative formula that surfaces on a new release. Early press reports for Stephin Merritt’s latest recording were that it was an amalgam of Jesus & Mary Chain maudlin drones and Phil Spector’s kaleidoscopic “Wall Of Sound” textures. Frankly, these direct links do the final product a great disservice; the links are vaguely tenuous, lazy, simplistic attempts by the media to conjure up a ‘feel’ for what’s in store. “Distortion”, Merritt’s 8th full release is a glittering star shower of deeply original Pop artifacts, echoed sparks of white light that puncture our atmosphere like that distant ray of sunlight one sees in a sky full of dark clouds. It’s almost childlike in its sonic imagery, simple melodies, distorted by echo, fuzz and feed back, perfectly exemplified by the instrumental opener “Three Way” which endearingly sounds like the theme to a 60’s kids show; a resemblance that reminds one of his Lemony Snicket series.
With “California Girls”, Merritt’s lyrics swipe scathingly via the sweet tones of Shirley Simms, all played over an almost apologetic West Coast Pop backing that frankly, the ‘hated’ California Girls could only love. The tempo slows down for the contemplative “Old Fools” where Merritt plunges his lonely baritone to the deepest, darkest depths.Indeed, the slower, more reflective numbers captivate the listener most of all, particularly Simms’ melancholic “Drive on Driver”, and the serene closer “Courtesans”. Merritt isn’t short on black humour either, “Too Drunk To Dream” bemoans the power of the bottle to the “shit faced” victim, and even funnier, “The Nun’s Litany” is the literary dream of the tempted servant of The Lord who wishes “I want to be a topless waitress, I want my mother to shed one tear”. It’s all charmingly irreverant, mainstream Pop with a wry splash of experimental fluidity echoing through every tinny rhythm, every distorted Guitar scratch, every weird synth sound.
Stephin Merritt has a genuine claim to be one of the most evocative Pop practitioners around, and “Distortion” only reaffirms his incredible skill. If you thought mainstream pop was a well worn concrete road, grey, cold and uninviting, then let Magnetic Fields lead you off the beaten path through a meadow of bright colours, warm, and inviting sonic textures.
Listen to "Drive On, Driver" (above)
My Trusted MOGs
"The Nun's Litany"
My Trusted MOGs
I, for one, am glad to see you continue to post - particularly when you point out pop gems like this from Merritt, whom I've never heard before. Nice stuff. And a nicely written commentary.
My Trusted MOGs
I agree, the JAMC comparisons really devalue what Ste[hen Merritt's doing here. I'm really enjoying this album so far.
My Trusted MOGs
Admittedly, I'm someone who's heard a few stray tracks from Distortion and didn't care for any of the material. HOWEVER, as someone who fancies being some sort of music writer, I'll admit to the J&MC/'Wall of Sound' comparisons being misleading. I might not like the record, but I'll cop to the fact that there's a whole lot going on here, and pigeonholing it into that sort of description really isn't doing Merritt's work justice.
My Trusted MOGs
dermahrk - Thanks, I'm already feeling that this may be one of my favourites come the end of the year.
Dale - Hi, yeah first time I listened to it I wasn't sure I was going to like it because I'd been told by the press what to expect. The album doesn't deserve any comparisons IMO.
Mister gary - Thanks for your honest candour. You're right, the comparisons could affect judgement on whether to buy the album or not, which I think is unfair.