Review Summary: Merrit strikes again, charming as ever.
Stephen Merritt has to be one of my favorite songwriters of all time. Whether he’s formulating clever synth-pop like on Magnetic Field’s
69 Love Songs, or crafting more finely produced pop numbers like those on
i, Merritt does it with seemingly unnatural ease. During
69 Love Songs he claimed to be writing three songs a day, though not necessarily good ones. I don’t doubt that he was writing so much, for he has a knack for the act that makes it appear almost a sport for him. His songwriting ability is showcased on an episode of NPR’s Project Song, where within a limited time frame he manages to create a loveable pop song. I’ve loved every album I’ve heard by him, and going into
Distortion I had little doubt that I would not be disappointed.
Switching focus to the group, The Magnetic Fields have been active since 1990. Beginning solely as a studio project of Merritt’s, the band has developed over time to include several regulars, although he is still definitely the main force in the band. On
Distortion, The Magnetic Fields alter their style rather directly, ironically incorporating fuzzy distortion reminiscent of groups like Jesus and Mary Chain. Sticking to Merritt’s guns, it is still a pop album, just drenched in oceans of fuzz.
The most striking aspect of the album when you get past the distortion is female vocalist Shirley Simms. Singing on over half of the thirteen tracks, she tenderly steals the show from Merritt, without debasing his presence. Her voice is gorgeous. Single “California Girls” is a charming number with rather innocuous lyrics but such catchiness that there’s little reason to be bothered by them. “Xavier Says” has her pleasant voice gliding over a very satisfying chord progression. “The Nun’s Litany” is probably her best appearance. Strong melodies and beautiful development of phrases create dynamic pop that matches beautifully with her voice.
As pop-oriented as the album is, it still carries plenty of emotion with it. On “I’ll Dream Alone”, Merritt sings drearily of loneliness. “Old Fools” resonates deep within the listener, the music perfectly suited for Merritt’s bassy vocals. “Courtesans” isn’t necessarily a sad song, but it strikes an emotional chord in the listener regardless. Many of the tunes have emotional effects that are totally unrelated to sadness or passion. It’s more of a heartwarming sensation that you may have to experience to fully understand.
Initially I was disappointed, saddened by the absence of Merritt’s vocals on so many tracks. His baritone voice is the first thing that comes to mind when I think of the band. However, with the conceptual use of distortion and the way the album is laid out, I wouldn’t have it any other way. Simms voice is amazing, and a pristine match for the watery pop on the album. Merritt is without a doubt a genius, and his latest release is a fine example of it.
