14 Songs, 41 Minutes

EDITORS’ NOTES

The title’s no joke: Distortion sounds like music made in a foundry, each track prickly with feedback and fuzz, echo and drone. Stephin Merritt has even feedbacked the piano as well as the accordion and cello, and the resulting mix of orchestral pop and post-punk cacophony is both catchy and hard to listen to, like something that might once have been filed under “ambient headache” at the record store. Who else would — could? — think of a love song like “Zombie Boy,” which makes re-animating a corpse sound like a viable dating option? “You look pretty pure / For so long in the ground / You smell like a sewer / But you don’t make a sound.” On an album full of wintry, love-lost sorts of songs, the first track serves as a red herring: “3-Way” is a bouncy instrumental powered by carnivalesque piano and 60s garage-surf guitar, punctuated only by the joyfully chanted title. Visions of polyamorous decadence quickly vanish with the sour stick of bubblegum that is “California Girls” (the singer hates them), not to mention the world’s most cheerless Christmas song, the shriekily feedbacked and hungover-sounding “Mr. Mistletoe.” Merritt loves his schtick, and this album’s no exception. But by making his theme sonic, not literary (as it was in 1999’s acclaimed 69 Love Songs or 2004’s soft-rock-y I), he’s stumbled on a curious truth: dissonance is to melody as loss is to love. Mixed together, they make beauty of the most unearthly kind.

EDITORS’ NOTES

The title’s no joke: Distortion sounds like music made in a foundry, each track prickly with feedback and fuzz, echo and drone. Stephin Merritt has even feedbacked the piano as well as the accordion and cello, and the resulting mix of orchestral pop and post-punk cacophony is both catchy and hard to listen to, like something that might once have been filed under “ambient headache” at the record store. Who else would — could? — think of a love song like “Zombie Boy,” which makes re-animating a corpse sound like a viable dating option? “You look pretty pure / For so long in the ground / You smell like a sewer / But you don’t make a sound.” On an album full of wintry, love-lost sorts of songs, the first track serves as a red herring: “3-Way” is a bouncy instrumental powered by carnivalesque piano and 60s garage-surf guitar, punctuated only by the joyfully chanted title. Visions of polyamorous decadence quickly vanish with the sour stick of bubblegum that is “California Girls” (the singer hates them), not to mention the world’s most cheerless Christmas song, the shriekily feedbacked and hungover-sounding “Mr. Mistletoe.” Merritt loves his schtick, and this album’s no exception. But by making his theme sonic, not literary (as it was in 1999’s acclaimed 69 Love Songs or 2004’s soft-rock-y I), he’s stumbled on a curious truth: dissonance is to melody as loss is to love. Mixed together, they make beauty of the most unearthly kind.

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Ratings and Reviews

3.7 out of 5
60 Ratings

60 Ratings

Etienne-Jules Marey ,

Merritt's homage to J&MC?

Perhaps a quick point of reference for Distortion is "When My Boy Walks Down the Street" from 69 Love Songs. Their latest finds the Magnetic Fields soaking their tin-panny pop songs in a heavy dose of Jesus and Mary Chain reverb and fuzz. On first listen the sonic palatte at times feels a bit monotonous, but the song-craft is still exceptional. High-lights include "California Girls," "The Nun's Litany," and the amazing "Too Drunk to Dream."

t.Hancock ,

ever the innovator

Stephen Meritt never ceases to find new niches of rock and pop melody, and yet every album maintains a certain stylistic stamp that is undeniably his own. This album covers a lot of new ground, recalling Beach Boys themes while infusing a certain static grit to songs like Too Drunk To Dream. Overall it's enjoyable and original.

petediddy2k8 ,

Origional, Haunting, and actually kinda funny

I just got this album on impulse. I had never even heard of the magnetic fields, but it was recommended on pitchfork, so i figured what the hell. I cant turn it off, i've probably listened to it 7 times through already and I like a different song the most each time. Great album. Standouts are "The Nuns Litany" "Too drunk to Dream" "Old Fools" and "Please stop dancing."

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