The Magnetic Fields

Stephin Merritt

Vocals, Guitar, Keyboards

Shirley Simms

Autoharp, Vocals

Sam Davol

Flute, Cello

Claudia Gonson

Piano, Drums, Vocals

John Woo

Bass, Vocals

Formed: 1989
Location: Boston, Massachusetts, USA
Genre: Indie Folk, Indie Pop, Synth-pop
Years Active: 1988 -
Meaning of the Name: It's a reference to the surrealist novel Les Champs Magnétiques (1920).
Primary Songwriter: Stephin Merritt
Associated: The 6ths, Future Bible Heroes
Labels: Merge, Nonesuch, Feel Good All Over

Essential Releases

The Charm of the
Highway Strip (1994)

Reimagines country music as gothic synth-pop.

Holiday (1994)

Sardonic synth-pop with an '80s aesthetic and deadpan delivery.

Get Lost (1995)

A haunting acoustic record about doomed relationships.

69 Love Songs (1999)

A cynical deconstruction of love songs.

Known for writing songs in the corners of dingy bars, Stephin Merritt has released more than twenty albums across his various projects. Despite his lack of mainstream attention, he has a dedicated cult following and is adored by the music press for his dry wit and short, rapid-fire ditties that get to the point faster than an alcoholic running to the bar at last orders.

69 Love Songs (1999), released as The Magnetic Fields, is his best-known and most-loved work for good reason. The triple album is primarily about "love songs" as a musical form instead of love as an emotional state, although the lines frequently blur. While certain tracks are autobiographical, most deconstruct the genre with irony and play with the listener's expectations.

When we imagine falling in love, it's easy to conjure a Hollywood lead. While beauty may be skin-deep, it remains a sad truism that the "beautiful people" are rarely without a date on Friday night. There is, therefore, something subversively funny about a schlubby, middle-aged man singing about loving another similar man. Like spotting a person swimming in the ocean while wearing a three-piece suit, we laugh despite ourselves. However, that laughter, or derision, is precisely the point.

Even the title, 69 Love Songs, has an comedic edge. It serves as a good-hearted, slightly envious, mockery of the genre. Merritt highlights the absurdity of a medium where endless tracks rhyme "heart" with "keep us apart", while unironically presenting themselves as profound works of human connection. Such clichés often draw the ire of the jaded and the unlucky, to such an extent that, on the track 'I Don't Believe in the Sun', a dejected Merritt denies its very existence:

"I don't believe in the sun.
How could it shine down on everyone, and never shine on me."

Although the black humour is a signature touch, the most vital aspect of Merritt's work is structure. While other alternative acts favour a free-flowing, jam-based approach, Merritt deliberately restricts himself with self-imposed rules. For example, each song on 2004's i starts with the letter "i".

Simultaneously, he shatters convention on those same projects by blending irony with sincerity in a way that renders them indistinguishable. The approach challenges the received wisdom that such forces were opposed in the first place, like how sarcasm, or ribbing, can really indicate deep affection.

His other albums also have an experimental slant. The Charm of the Highway Strip (1994) imaginatively packages country and western tropes as synth-pop. Meanwhile, 69 Love Songs acts as a dizzying odyssey through punk, jazz, industrial, and reggae, effectively covering the history of modern music in a single sitting.

Skills

*This is a work in progress. Values are subjective.

Emotional Impact

i Does it connect with the heart? What does it make you feel and how much of it?

60

Mental Impact

i Does it connect with the head? Social issues, interesting observations, clever lyrics, similies etc.

90

Originality

i Are they unique? Did they break new ground, use new techniques or create new genres.

85

Artistry

i Using creativity and imagination to present themselves in a unique way. Example, Wu-Tang Clan as Shaolin and Marvel characters etc.

80

Authenticity

i Do they really mean what they say? Is it autobiographical, personal?

65

Live

i Stage presence, working the crowd, performance. Miming, forgetting lyrics reduce this.

70

Production

i Studio techniques. More important for electronic music including hip hop.

60

Musicianship

i Their ability to play individually and as a group. Technical skills. DJing. Freestyling for hip hop.

75

Singing

i Technical attributes.

70

Songwriting

i Storytelling. Cohesive themes. Is the song about something? Stan by Eminem is an example of excellent songwriting.

95

Danceability

i Does it make you move? Do you tap your foot, nod your head or move your whole body?

55

Fun

i Is listening to it a good time? Are the lyrics funny? Depressing themes lowers value.

55

Consistency

i Have they put out good music across their careers. Two good albums and 5 band ones will reduce this value.

70

Range

i Fast, slow, ballads, party jams. Do they go beyond their own genre?

80

Cool

i Laid-back, icy detachment, unflustered.

50

Charisma

i Factors include appearance, force of personality. Elvis making people faint etc.

40

Commercial & Critical Success

Awards

Certifications

Charts

Critics >>>

• NME - 69 Love Songs - The 500 Greatest Albums of All Time (2013): 213th
• Rolling Stone - 69 Love Songs - The 500 Greatest Albums of All Time (2012): 465th

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