The Magnetic Fields - "Distortion"Rating:
Following a four year lull, a perplexing Volvo jingle, and much anticipation, Stephin Merritt has returned with "Distortion," a nearly forty minute haze of 60's pop, soothing melodies, & reverb infused instrumentation.
"Distortion's" opening track, "Three-Way," serves as the perfect introduction to separate the Fields' latest offering from it's more electro-pop centric predecessor, 2004's "i." Gone from the equation are the heavy usage of synth notes and flashes of new wave, replaced instead by an unequivocally surf inspired number, heralding Merritt's intentions on "Distortion" from it's very incipiency.
"Distortion" is an album dissimilar to any The Magnetic Fields have produced in their 17 year history. Full of 60's pop grooves, and an overwhelming amount of fuzz, the album proves to be an ambitious, and highly successful, departure for the band.
Never before has Merritt's voice, long renowned for it's unique delivery and deep tone, sounded better than it does here. With a musical backdrop fitting of the albums title consisting of distorted percussion and and heavily fuzzed-out guitars, Merritt's vocals memorize as they are ushered to the forefront and it is next to impossible to resist.
Merritt's sense of blunt wit is displayed in full force on "Too Drunk to Dream" with it's comical acapella hymn introduction and bouncy choruses. The subtle squealing feedback slowly escaping the surplus of reverb heavy, yet upbeat, instrumentation aids in the tracks momentum that ultimately culminates in an impeccable crescendo that pays off in all the right ways.
While Merritt's vocal contributions are certainly worth considerable praise, "Distortion" shines its brightest when Shirley Simms, Merritt's heavenly voiced counterpoint, assumes the vocal duties. Luckily for listeners, Simms is prominently featured, and this happens with quite some regularity.
Simms' initial offering, "California Girls," is an infectiously catchy and acrimoniously worded rebuke to the Beach Boys classic of the same namesake. Continuing with the theme of catchy composition, "Drive on Driver" is another upbeat highlight that lyrically forces comparison to the bands earliest works. With its more country based, open road imagery, “Drive on Driver” touches on themes that haven't been prominent in the band's lyrics since "The Charm Of The Highway Strip."
Transitioning from the more pop influenced selections, "Till the Bitter End" is a entrancing slowdown piece, Simms voice hitting all the points of the spectrum missed by Merritt's beloved baritone, which are at there best subsequently on the album's follow up, "I'll Dream Alone."
Perhaps the albums brightest moment comes when Merritt & Simms share the spotlight on "Please Stop Dancing." A simplified backbone beat carries the call and response structured piece but is cleverly complicated by the inclusion of enough atmospheric noise to span an entire record, accented by select and delicate notes surfacing throughout. Despite it's highly repetitive verses, the contrast created by the dueling vocals delivers almost a whirlwind effect, encapsulating the listener in it's quirks and charms.
"Distortion" is an album filled with consistent high points, gorgeously delivered vocals, and a backdrop of blissful dissonance. Well worth the wait, "Distortion" is arguably The Magnetic Field's best offering since 1995's "Get Lost," and will surely satisfy their patient fan base to the fullest extent.
Listen: Magnetic Fields @ Myspace
Buy The Album: Magnetic Fields @ Amazon
1 comment:
I haven't bought a CD or music from iTunes in eight years.
Your writing makes me consider doing the opposite.
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