Distortion is the eighth studio album by American indie pop band The Magnetic Fields. It was released on January 15, 2008 by record label Nonesuch. As the album's title implies, several of the musical performances featured are distorted by various means. In particular, the album's sound was influenced by the 1985 album Psychocandy by The Jesus and Mary Chain. Distortion was recorded at Mother West in New York City. It was produced by Stephin Merritt and co-produced by Charles Newman.

The Magnetic Fields ‎– Distortion. Genre: Rock, Pop. Style: Alternative Rock, Art Rock. referencing Distortion, CD, Album, Promo, Pro 400018. My copy is the same as this but with a partially visible larger version of the figure on the cover to the right of the song titles. Not sure about this discrepancy. Reply Notify me Helpful.

Stephin Merritt celebrates all that is fuzzy, sexy, and drenched in reverb on Distortion, a 13-track rendering of the Jesus and Mary Chain's Psychocandy through the barbed sieve of the Magnetic Fields mastermind's seemingly endless notebook of relationship dos and don'ts and self-effacing cognitive therapy sessions.

Distortion is the eighth studio album by American indie pop band The Magnetic Fields. Distortion debuted at number 77 on the . Reception.

The Magnetic Fields, Distortion. On Distortion, Merritt's history-worship goes nuclear. These 13 songs are intended to revive the essential spirit of the Jesus and Mary Chain's Psychocandy, the 1985 album whose mix of wailing feedback, rumbling menace and Phil Spector-esque pop aesthetics endeared it to mid-1980s John Peel listeners in much the same way that the Clash's first album soundtracked the lives of punk rockers. Retrieved December 22, 2014. Monger, James Christopher. Distortion – Magnetic Fields". Retrieved September 13, 2015. Heller, Jason (January 14, 2008). The Magnetic Fields: Distortion". Retrieved August 28, 2014. Nonesuch) UK release date: 7 January 2008. by Ben Hogwood published: 7 Jan 2008 in Albums. It’s four years since the last The Magnetic Fields album, i, but Stephin Merritt has hardly been idle. Distortion proves an appropriate name for the album, quite apart from its obvious representation in white noise, fully realised in Drive On, Driver, with its blatant guitar solo splitting the easy-spirited vocal in two before the orchestral touches shine through, seemingly from the other end of the room. Merritt allows the full range of his voice to come through, not always successfully. You won’t hear a song more world weary than the diseased Old Fools, sounding like it had to be completed with the aid of a set of walking sticks. Likewise Mr. Mistletoe explores the lower end of the baritone,.