The Magnetic Fields
Distortion (Nonesuch Records)
By Karen Choy
Published: January 14th, 2008 | 9:50pm
Fans of Stephin Merritt and the Magnetic Fields won't be surprised that its eighth album Distortion is a record full of exquisite torch songs laced with razor-sharp wit. However, some fans may be caught off guard by the most captivating aspect of this latest record: its relentless, highly textured, discordant sound. Longtime Magnetic Fields musicians featured on the album include pianist-drummer Claudia Gonson, cellist Sam Davol, and guitarist John Woo. Each of their instruments (except for the drums) were rigged to provide feedback in an effort to emulate the sound of the Jesus and Mary Chain's Psychocandy. This special recording style creates a Phil Spector worthy "Wall of Noise" sound. Its lushness will envelope listeners, leaving them dizzy, ears ringing.
Merritt's trademark baritone duets and trades lead vocals with Shirley Simms, who collaborated on the pivotal Magnetic Fields three-volume set 69 Love Songs. Merritt has commented that Simms's voice is pure pop and it's true that her effervescent vocals lend themselves perfectly to several of Distortion's three-minute masterpieces.
The feel good hit of the record is "California Girls," one of the best mutations of a Beach Boys hit since Redd Kross's "I Hate My School." "California Girls" is a caustic criticism of Hollywood starlets who generate more attention for their artificial beauty and train wreck lifestyles than their credibility as artists. After a list of complaints, Simms encourages an uprising of battleaxes. The song culminates with a sneak attack and chant: "They will hear me say as the pavement whirls: 'I hate California girls.'"
Another highlight is the upbeat "Too Drunk To Dream." It's the song the ruffian in a musical would belt out while slamming into lampposts. Beneath the jubilant distortion, the lyrics shed a harsh light on a downtrodden guy who abuses every type of substance to block out his "heartless bastard" ex-lover's face. In true Magnetic Fields style, the song sets the listener's toes tapping and head bopping to the tune of something really tragic.
The slow, creepy-sounding "Zombie Boy" is a standout track because of its paranormal narrative about a smelly, fancily dressed, white-haired, blue-skinned zombie. It reminds one of something out of a Tim Burton movie or future Lemony Snicket book (incidentally, Lemony Snicket author Daniel Handler plays accordion on Distortion and Merritt attempted to capture feedback from that instrument as well).
The album's closing track, "Courtesans," is a sad and gentle song mulling over the notion that sex without love may be an ideal way of life. The piece's simple arrangement highlights the longing in Simm's voice as she sings: "Courtesans are not like me / They don't take love very hard / Their hearts are free." The song almost succeeds in sinking listeners into a vast blue ocean of despair, but the song — and album—ends on a lighter note when Simms reveals that courtesans believe in Santa Claus and his elves. Yay!
Merritt once again dazzles listeners with his deft ability to balance drollery and despair. His penchant for experimenting with new sounds ensures that each Magnetic Fields record is unique and something to look forward to, and Distortion is no exception.
Issue #26
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