We don’t need to argue about Nina Simone, Nusrat Fateh Ali Khan, Ali Farka Toure, Fela Kuti, Chet Baker or Count Basie’s Orchestra, Miles Davis, The Rolling Stones or Beatles, Klauze Shulze, Robert Johnson, Bob Dylan or Elvis, Pink Floyd, Zeppelin, Zappa, Nick Drake, the Clash, The Cure, Ministry, NIN or Nirvana. I know how amazing they all are. These are the ten records that would save my soul if I got tossed into space like Sandra Bullock.
1. Astral Weeks – Van Morrison
2. Laughing Stock – Talk Talk
3. Loveless – My Bloody Valentine
4. Grace – Jeff Buckley
5. Hounds of Love – Kate Bush
6. Blue Moods of Spain – Spain
7. Siamese Dream -Smashing Pumpkins
8. Blade Runner OST – Vangelis
9. Lifeforms – The Future Sound of London
10. And She Closed Her Eyes – Stina Nordenstam
Moods subject to change.
For some The Magnetic Fields are icons, for most, they remain unknown. Strange Powers, the documentary about The Magnetic Fields directed by Kerthy Fix and Gail O’Hara provides an unprecedented, intimate look at the band’s difficult-to-interview, enigmatic and brilliant leader Stephin Merritt.
“Stephen does not suffer fools,” says Daniel Handler a friend of Merritt’s and author of the Lemony Snicket series of books.
Indeed until the arrival of Strange Powers, virtually any interview conducted with Merritt since the band’s beginnings over two decades ago, has afforded little more than wry quips and deflections. Seen in the context of Merritt’s surprisingly candid participation with these filmmakers however, the reputation for being difficult or impenetrable dissolves quickly and in fact reveals itself to be nothing more than an extension of his pop-cultural wariness, razor sharp wit and erudition.
Back in the early ’90’s, whilst night club staff blasted Nirvana’s Nevermind whilst sweeping cigarette butts and beer bottle caps off the floor from the night before, The Magnetic Fields would be loading their instruments, consisting primarily of a cello, an acoustic guitar, several ukuleles and perhaps a piano through the stage door.
Their show would consist of songs about love, sex, heartbreak, romance, college and plays on words delivered in an almost childlike, most certainly non-rock format, fronted by Merritt’s irreverent, baritone voice, occasionally singing in duet with pianist and band-manager Claudia Gonson. Sam Davol would meticulously execute Merritt’s cello arrangements and John Woo would add air and rhythm to Gonson’s piano lines on acoustic guitar. Between songs Gonson and Merritt would carry on the banter they forgot to leave at the car in which they traveled from city to city, betraying the unique nature of their maternal, fraternal, incestuous, Platonic relationship much to the delight of the crowds.
“[There were definitely shows] where the band felt bigger than the room,” recalls cellist Davol: “It felt like something momentous was happening – or maybe the audience was just drunk…”
With archival footage dating all the way back to their teen years, growing up in the punk scene in the 80’s, to interviews with Merritt’s former employers as a copy editor and later writer for SPIN and TimeOut, through Merritt’s recent migration from New York to Los Angeles and even interviews with his mother at his new Cali home as he sits writhing in embarrassment, Strange Powers legitimately affords an intimate walk through and alongside the history of its enigmatic subject – a brilliant lyricist, arrangist, composer and performer with all the class of Serge Gainsbourg, all the lyrical capabilities of Leonard Cohen, and all the humor of Lord Buckley.
Fortunately the film is not only engaging because of its subject, but also because it is well paced, sequenced and edited, with visual elements delicately smattered throughout, allowing the personas and songs within to be revealed without ever over-saturating with adulation.
If you are not yet hip to the Magnetic Field’s catalog, get there now. Once you do, see this film and let your love grow.
Despite the fact that band fills large venues and is a darling of the New York middle aged hipster crowd, mainstream attention continues to elude them. In fact for this Canadian premiere of the film, the theater was only a quarter filled. Outside, lines stretched out half a block in anticipation of Biutiful. So it is difficult to say what sort of distribution this may find, and when it does, whether you will know well enough to lend it your eyes and ears.
If you are in Vancouver, one screening remains:
Sun, Oct 10th 11:00am
Tickets available through the official VIFF Website or at the door
69 Love Songs by The Magnetic Fields remains one of my favorite “albums” of all time (I use bunny ears only because it spans three discs. We discover, in the film that Merritt’s original intention was to create 100 love songs, each using a different set of instruments, drum sources whether acoustic or synthesized) and to this day, whenever I put this collection of songs on, I invariably want to run out onto a rooftop and proclaim how utterly overwhelmingly brilliant it all is. But instead, I typically end up keeping it to myself, like a small inexpressible wonder. After seeing footage from the recording of their eighth release, “Distortion,” I am not only ashamed of not yet having heard it, but more excited than ever to be exposed to their subsequent creative output.
Magnetic Fields Select Discography:
Distant Plastic Trees (1991)
The Wayward Bus (1992)
The House of Tomorrow (EP) (1992)
The Charm of the Highway Strip (1994)
Get Lost (1995)
69 Love Songs (1999)