Track Listing

1. Three-Way
2. California Girls
3. Old Fools
4. Xavier Says
5. Mr. Mistletoe
6. Please Stop Dancing
7. Drive on, Driver
8. Too Drunk to Dream
9. Till the Bitter End
10. I'll Dream Alone
11. Nun's Litany
12. Zombie Boy
13. Courtesans

Product Details

• Amazon Sales Rank: #11713 in Music
• Released on: 2008-01-15
• Number of discs: 1
• Dimensions: .25 pounds

Amazon.com
Fans of the Jesus and Mary Chain will surely be thrilled with Distortion, which lives up to its title in the first few seconds of the jovial opener, "Three Way." The entire album is awash in a bed of feedback and noise sharp enough to match bandleader/Svengali Stephen Merritt's notoriously wry lyrical jabs. In its willful obfuscation of simple melodies, Distortion recalls MF's earlier, more electronic, more reverb-soaked output. Of course, Merritt's songs could probably work with any arrangement, cacophonous or otherwise. His lyrics and succinct melodies survive the treatment, and his inner Cole Porter remains intact. "California Girls" features regular collaborator Shirley Simms cheerily plotting a battle-axe attack on some of the more blonde and plastic elements of California society (Simms handles vocal duties on about half the tunes here). "Mr. Mistletoe" is an anti-carol with a forlorn Merritt attaching his romantic betrayal to various holiday symbols. "Too Drunk to Dream" is classic Merritt, with an upbeat but down-on-its-luck refrain: "I gotta get too drunk to dream / Because I only dream of you." Drenched in distortion, MF's now-expected acoustic instruments--cello, piano, accordion--create some remarkable textures. Merritt and crew remain full of songs and surprises, and in finding their ability to make a ruckus, have created an inarguably singular offering. --Jason Pace

Customer Reviews

Refreshing
After loving songs such as "I dont want to get over you" on the 69 love songs album (I never ended picking up their "i" album) I was excited to listen to their new tracks. What a surprise! Distortion is nothing like what I've heard from the Magnetic Fields, but it was a pleasent surprise!

"Distortion" is unique in exactly that - distortion. All through the album you hear distortion in the background.. something which you'll either love or hate (or maybe both, as in my case). There's also a lot of fun in this album with songs such as "California Girls." Hits include: 'Three-way', 'Please Stop Dancing' and 'The Nun's Litany.'

Beguiling.
You'll either really love or detest Magnetic Fields - aka Stephin Merritt and a few hired hands.
Personally, I couldn't get enough of his new and eighth album Distortion.
Certainly you'll not hear anything like this record all year.
Merritt employs no synths - but he'll give you everything from a piano to a cello all bubble wrapped in a spiky Spector-esque wall of sound with layers of feedback, a la his big heroes, Jesus and the Mary Chain.
If you try hard enough, you can hear distorted elements of the distorted piece of musical genius that was Distortion.
It works - the tunes are no more than three minutes long but they turn conventional sounds right on their head.
Standout tracks : 'Three-Way', 'The Nun's Litany', 'Too Drunk to Dream', 'Mr Mistletoe', 'California Girls.

distortion
With all of Stephin Merritt's cleverness and theatricality, it's easy to forget that the Magnetic Fields started out as an indie pop band. Merritt didn't really establish himself as a widely feted songwriter until 1999's 69 Love Songs, a far-flung compendium spanning acoustic ballads and skittery electro pop tracks. Merritt continued his conceptual unification streak with 2004's i, but that album's all-acoustic approach felt at odds with the songs themselves. (Compare the passable album version of "I Don't Believe You" with the vastly more fun single version.) While the overdone thematic focus of i generally seemed flat and frustrating, Distortion's aesthetic conceit-- conveyed by its title-- is worn well, and its blown-out sound breathes life into a collection of songs that brings together many of the best ideas from Merritt's back catalog.

In the four years since i, Merritt has had plenty of opportunities to indulge his interest in all things theatrical, and that impulse is largely played down on Distortion. Instead, Merritt explores his 1960s pop fetish more directly than he has since the early 90s. Distortion is hardly a retread, though-- its fuzzy production substantially alters the focus and nature of Merritt's music. Opener "Three Way" serves as a straightforward statement of purpose; its simple, surf-y riff is almost unimaginable without a distorted guitar tone. Throughout Distortion, the squelching, tight-focus rhythmic interplay of Merritt's music is blown out into loud, distorted drum beats and smeared guitars, introducing a new level of messy, energizing depth to Merritt's characteristically stately and considered songwriting.

These aesthetic changes resonate emotionally as well, often lending Merritt's music a previously unexplored shambolic melancholy. "Old Fools" plods along beautifully, Merritt's lugubrious voice offset beautifully by the loud, squealing guitars behind it. Indeed, while Merritt has gotten more technically adept at singing, Distortion's hazy and reverb-drenched arrangements consistently prevent him from slipping into fey preciousness. At its best, the effect is similar to that of Big Star's Third/Sister Lovers, a wall of disintegrating feedback bringing out the most rough and human tones of Merritt's well-honed voice.

While the sonic treatment of Distortion flatters Merritt's singing, the album's greatest moments belong to Shirley Simms, the finest and most nuanced singer in Merritt's orbit. "Drive On, Driver" brings to mind The Charm of the Highway Strip with its serpentine melody and roadway imagery. "The Nun's Litany" is perhaps the best song on the record, cutting Jesus and Mary Chain guitar feedback and percussion with a striking, clean organ sound. And the audaciously titled "California Girls" is irresistible, bolstered by sly harmonies just peeking out from a sea of distorted guitar fuzz.

For all its boldness, though, "California Girls" is a bit obvious and overstated in its approach. This hardly makes the song less enjoyable, though-- thankfully, cleverness isn't really the point of this record. In fact, the more laid-back and loose feel of Distortion casts its more ostensibly funny moments (see the sing-songy intro to "Too Drunk to Dream") as anomalous and weirdly charming like the goofier tracks on a Robyn Hitchcock record. For the first time since Get Lost, the conceptual conceit of Merritt's work sounds like a well-considered and-- dare I say-- fun, jumping off point for a thoroughly solid album. As such, Distortion isn't a return to form so much as a return to content.