Customer Reviews

Distortion

5 star:		(6)
4 star:		(8)
3 star:		(3)
2 star:		(4)
1 star:		(1)

 

 

The Magnetic Fields have been around for the better part of two decades, keeping fans happy by releasing albums every couple of years. Distortion comes to us a little less than 4 years after the band's previous album, i. Both i and its predecessor, 69 Love Songs, were concept albums, wrapped around a basic idea. It should come as no surprise then that Distortion follows in much the same way. Though there is no thematic ribbon that ties the songs together, the actual album is in fact a mess of distortion and feedback.

It's an odd thing to hear on a Magnetic Fields album. As a band who has made a name for themselves by making stately and generally straightforward music, something as raw and dirty as distortion seems like a mismatch. Surprisingly though, this new element allows the band to explore some previously uncharted territory. 60s pop is the clear sound that Stephin Merritt and his bandmates are going for this time around, with driving and repetitive guitar lines that are catchy in and of themselves. Album opener, "Three-Way," for example, makes for enjoyable song despite the fact that Merritt's trademarked lyrical wit never makes an appearance. It is, rather, guitars, drums, and keyboards that make the song as enjoyable as it is. It is here that we're first greeted with what Distortion promotes with it's title; a decidedly lo-fi sound with blaring mids and a consistent layer of distortion and feedbacking guitars below the music itself.

Despite it being the theme of the album, however, it is also my least favorite part. While songs like "California Girls" and "Please Stop Dancing" undoubtedly benefit from this aesthetic, others like "Old Fools" would seem better suited to a more traditional Magnetic Fields sound. It's kind of a double-edged sword. Just when you hear a song that you absolutely adore, you're greeted with another that just doesn't seem to fit. Even Stephin Merritt, with all his theatrics, seems somewhat out of place on an album as loud and messy as this. And it is, perhaps, for this reason that the album's better moments are sung, not by Merritt, but by Shirley Simms (who can also be heard on past Magnetic Fields albums).

But that itself is more of a minor annoyance than anything else. Despite the fact that some songs don't benefit from the distortion as many others do, each song on Distortion is undeniably catchy and worth listening to. "California Girls" takes a unabashed beach rock riff and turns it into a funny, catchy song. Shirley Simms sings of the subjects, "They breathe coke and they have affairs with each passing rock star." It is not only one of the better tracks on the album, but also the first song you'll undoubtedly find yourself singing along to. "Please Stop Dancing" finds Merritt and Simms trading off on vocals, and the song's steady rhythm just begs for a good toe-tapping or head-bobbbing.

"Drive On, Driver" is a touching, and still catchy ballad sung once again by Simms. The melody is beautifully written, and will definitely please most listeners. "Too Drunk To Dream" is classic Magnetic Fields, and Merritt's shining moment on the album. The beginning of the song cleverly examines the way things always seem better when you're drunk. It's absolutely hysterical. He later sings (in his typical theatrical manner), "I've gotta get too drunk to dream cause dreaming only makes me blue," in what is sure to be yet another sing-along favorite.

Overall, the album is pretty enjoyable and a clear step up from the disappointment that was i. Though Stephen Merritt really takes a back seat to Shirley Simms, Distortion is no less enjoyable because of it. If you can get past all the blaring noise that is consistently going on in the background and deal with the abnormally high mids, I'm convinced that most anybody can find something to enjoy on this album. For fans of Magnetic Fields, it is an absolute must buy. For everyone else, it comes highly recommended.

Key Tracks:
1. "Three-Way"
2. "California Girls"
3. "Please Stop Dancing"
4. "Too Drunk to Dream"
5. "The Nun's Litany"

7 out of 10 Stars

I think he took a big risk here by changing his band's sound so drastically. As other reviewers have mentioned, the usual witty lyrics and hook-filled tunes are absolutely drenched in feedback and recorded in a very "low-fi" manner (see: Guided by Voices, Pavement, Jesus and Mary Chain, Sonic Youth, Joy Division, etc.). If I am in the right mood, and I listen to this sucker all the way through, it absolutely wins me over. I love this sound and it does bring back a lot of 90's alt-rock memories for me. And California Girls is hilarious, memorable, snarky, and in a parallel just and fair universe, it would be a #1 song on the pop charts.

I, for one, love this album. No, it's not "69 Love Songs". Unlike some reviewers, I'm glad that they don't make the same album over and over again. The production is interesting and works well with the songs, which are very strong. I think it's better than their last album, "i". This is change I can believe in!

While I am not a Stephin Merritt superfan, this is the fourth Magnetic Fields LP I have bought - "Charm of the Highway Strip" is my personal favorite - and I think it's great. I am surprised by the negative reviews.

Be forewarned I guess to all Magnetic Fields fans...this is basically traditional MF songs amped up with a heavy dose of feedback/noise ala The Jesus & Mary Chain. Some might not like it, I think it's a welcome change for the dude - although there are alot of bands playing this style right now, which is fine by me! See Raveonettes, Black Rebel Motorcycle Club, A Place To Bury Strangers, Ceremony, Vandelles, Crystal Stilts, Vivian Girls, Manhattan Love Suicides, Glasvegas, etc.

The songs might get a bit repetitive but that doesn't really bother me. The standout songs are: California Girls (amazing!), Drive on Driver, Too Drunk To Dream, etc.

Overall: don't expect this too sound like any other Magnetic Fields record. It's just a really noisy version of MF. If you can't handle that, you might want to stay away. I love it!

I don't disagree with the other reviews. I'll add though that I think the album is beautifully realized,
if certainly a departure in 'tone' and sound for MF. I thought 'I' (despite some fine moments) was at times too precious and pessimistic without sufficient thematic or sound variation, or enough leavening humor and irony. I think 'Distortion' though has great balance. I hope long term fans can get beyond-- or even embrace-- the loud sound feedback effects and weigh the album on its own merits. It does evoke Jesus and Mary Chain, but isn't slavishly imitative either. The clever/complex way it's put together and holds together even recalls for me Nilsson's best '60's work like "Nilsson Sings Newman," if not of course sounding the same. Some of lyrics (not unusual for Merritt of course) evoke as much Sondheim or Brecht/Weill as contemporary power pop. This album, like all his best stuff I think, is as much about the form of pop music as the content: he's one of the very best at deconstructing and reconstructing those forms. Early yet-- but I think this may rank just below '69 Love Songs' in my estimation, which means it's great!! I'm loving this more with each listen.

I really fell in love with this band with "i", then bought the rest backward and even saw them live on their last tour. The things I love about them is not present on this release;quirky,clever arrangements & lyrics. While the lyrics are there, they are lost in all the noise. This one is close to "The House of Tomorrow", which is my least favorite of the older releases.

I like noise like My Bloody Valentine, Dead C, ect. Just didn't want it here. I love steak and cheescake, just not mixed together.

May not be his very best album; I like Holiday and Get Lost more; but is surely one of the best so far. Plus How could anyone hate an homage to J.A.M.C?

I find it suprising that certain people think so negitively of such a wonderful record. I don't think it much different than their indie-electronic style, the only thing that's different is the instruments. The Magnetic Fields have always strived to make great indie pop music, and they've always had a sweet tooth for slight experimentation. Their beautiful melodies and wity lyrical style are no different and no less memborable than it was before before. The guitar style reminds me of something between My Bloody Valentine and Beat Happening, and I find it very well done within that context. I especially love the 60's pop vibe that pervades the record. I understand that not everyone likes the kind of distortion employed by bands like My Bloody Valentine and Beat Happening, but I think it fits beautifully for The Magnetic Fields. Even if it doesn't warm up to your ears at first listen, it will indeed grow on you. So, listen to it for yourself before you read any negitive reviews. Just give it a chance to warm up to you, and you might just thank yourself for it.

I really like most Magnetic Fields releases. My favorite is Holiday. To tell you the truth the distortion really does not add anything! Overall it is a mediocre record.

Full disclosure: I'm a huge fan of the Magnetic Fields, and believe that Stephen Merritt is one of the top five songwriters of this generation.

Every Magnetic Fields album has some form of theme or gimmick which ties all the songs together. As you probably know, the theme here is focused on the production of the songs. The songwriting is the standard indie pop of Merritt but made into fuzzy guitar based songs. The vocals are surrounded by distortion and feedback. This works really well with the Magnetic fields style. The production works to obscure the melodies, and make the vocal harmonies ghostly.

If you're a fan of the Magnetic Fields, you'll adore this album, and anyone who likes Psychocandy will find plenty to like. Check out "California Girls" and "Come on Driver", two instantly catchy snippets of Merritt godliness.