Computer Age

The Magnetic Fields
Distortion
(Nonesuch 2008)

A Stephen Merritt has always liked to play with the sounds of different eras and styles, shamelessly taking advantage of what other musicians have done and comment without the slightest shame, because in the background the whole world knows that although he does not say so (or not know it), knows that very few are able to do it with the mastery with which he does and knows that no one invents anything that is not based on what others have already done so. Do not try to fool anyone, which is not deceiving himself, from there the way of making sincere and personal works are paved.
On this occasion has returned to mix with melodies of the 50 choirs or tap surf of 60, feedback and reberb of the 70 rhythms, feedback or distortion of the 80, what has gotten into the mixer, it has added a jet Phil Spector senior, Pop a bottle of special reserve, it stirred with keys, guitars, cello, accordion and banjo driven by their usual (Sam Davol, Claudia Gonson, John Woo, and the collaboration of Daniel Handler to the accordion) until the mixture was to their liking. This time it wanted to present it, including the sound of the blender. Of course we know that Merritt and others have done before, has not stopped repeating that Jesus & Mary Chain have been the basis of this idea, when you go by the second or third song and you see that the background noise is a constant all of them is the first thing that comes to mind you (by the way, and although the results do not have much to do, I also recalled the former Penelope Trip when they recorded with a vacuum cleaner running musical as a basis). But there are clear differences between the two jobs, this is a disc Magnetic Fields on all four sides. If Psychocandy in the J & MC body was the noise and the ornaments the melody, the melody is Distortion in the body and noise as a complement decorative. In this regard has proved to be much more breaking work of J & MC. The Magnetics Fields had to settle for making flawless pop songs and sublime. Merritt's voice continues to stress and dazzling, I am personally convinced that most of Shirley Simms, who had already sung in the brilliant "69 Lovesongs", putting the voice for this work in half the songs.
"Distortion" is the eighth album with The Magnetic Fields, and the second for the label Nonesuch Records. All instruments have been recorded with feedback effects or feedback (placing amplifiers each instrument close enough to get feedback), excluding the battery. In the words of S. Merritt to satisfy their fans more rockers. The album starts with two surf across rule, an accomplished instrumental and "California Girls", which used to bring a touch of provocation by declaring that they hate the girls in California. With bases very low and simple battery, as in almost all of the disk, tell us in the slow "Old Fools" that the old can also dance, sing and fall in love. In "Xavier Says" a dialogue of disdain between Zsa-Zsa and Xavier is the argument. Songs shorter format of classic pop, with melodies and tap uncomplicated but wonderfully embedded, highly attractive and addictive, wrapped in layers and layers of sound. In "Mr. Mistletoe "Stephen Merritt sings us a sad Christmas song with the voice of crooner galactic shy cradled by doo-wop chorus of angels hidden among the trees and snow. With "Please Stop Dancing," sung halfway between Stephen Merritt and Shirley Simms, the start of a more rock songs, while most catchy and commercial, along with "Drive On, Driver", which reminds me of the Eurythmics, and the wonderful "Too Drunk To Dream", convinced apology for drunkenness. In "Zombie Boy," voodoo to make the moonlight in Haiti, while still dreaming at night in solitary "I'll Dream Alone." Shirley Simms returns to fully convince the contagious "The Nun's Litany" sings when he wants to be a playboy bunny, a model for artists or a porn actress (though it will wait for his mother to die), as well as the that closes the disc, talking about the lives of prostitutes, "Courtesans."
And that is The Magnetic Fields love to sing like nobody knows doing so, from original points of view, ironic and full of double meaning, looking surprised at all times. Like any work that is not perfect (and this, as much as I like, it is not), has its flaws. In this case I achacaría abuse and repetition of the plea or concept with which he wanted to wear the disc: the base-coupling-noise distortion, although the original was just becoming somewhat monotonous and predictable, leaving afloat without problems thanks to excellent songs that hold it. 100% recommended to lovers of the POP and that perfection is the sweat.