Album Review: The Magnetic Fields, 'Love at the Bottom of the Sea'

Three stars

Love at the Bottom of the Sea, The Magnetic Fields' first album to be released since the end of the “no-synth trilogy” of the last three releases, is a confused, occasionally brilliant romp of an album. In a record that lasts little more than half an hour, Stephin Merritt's group throw together fifteen songs of varying quality in a maelstrom of manic creativity. This ramshackle approach produces an album which is undeniably enjoyable, albeit marred by irritating moments of contrived kookiness.

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Perhaps the album's inconsistencies can be attributed to a hangover from the synth-less period which produced records as accomplished as Distortion. Indeed, the new album's opening track, 'Your Girlfriend's Face', seems overly keen to return the band to the electronic territory of their earlier work. The song sees Merritt's fine vocals overpowered by garish synthesizers, a problem which reoccurs later on 'The Machine in Your Hand'. Merritt, a songwriter usually renowned for his wit and charm, also lets down his redoubtable baritone delivery with some poor lyrics. On 'The Horrible Party', for example, he pleads with the listener to “Take me away from this horrible party and I will give you some money”. After considering the song's ridiculous oom-pah rhythm, they may be tempted to prolong his suffering.

Despite these flaws, the album nevertheless offers a number of examples of Merritt's mercurial talent. 'God Wants us to Wait' is a sharp satire on Christian chastity, while 'Andrew in Drag' evokes David Bowie while inverting sexual politics. The band's synths are deployed most skilfully in 'My Husband's Pied-A-Terre', with the track bursting unexpectedly into life after a beguiling opening. However, the album's outstanding moment is 'The Only Boy in Town', a delightfully poppy number which is good enough to bring The Beach Boys to mind. This surf-influenced track is perhaps the most compelling evidence that The Magnetic Fields are at their best when the synths take a back seat.

Django Django, Manchester Deaf Institute, 29th February

As the encore begins, we are probably the youngest people in the music hall. The cool kids must be doing MDMA out of each other's baseball caps somewhere else. Either way, Django Django have justified their slow-burning hype with a mesmeric live performance.

While the Edinburgh quartet's self-titled debut album is a reasonably endearing electro effort, the band transforms into something altogether more impressive when on stage. Powered by a technically adept rhythm section, the group's one-hour set turns inoffensive album tracks such as 'Firewater' into unstoppable, rabble-rousing juggernauts. The band's myriad array of synths, meanwhile, are utilised with much greater confidence than on the LP. Even vocalist and guitarist Steven Neff delivers his lyrics with a surprising passion, contributing to a sound akin to No Age refereeing a gang fight between Animal Collective and Devo.

Snappy dressers: Edinburgh's Django Django

Impressively turned out in matching T-shirts, the band open with 'Intro/Hail Bop', a track which deploys the synths probably played when nuclear reactors go into meltdown before laughing it all off with a wonderfully anthemic chorus. This swaggering approach continues throughout the set, with the audience whipped into a frenzy by the time recent single 'Default' appears. 'Firewater', meanwhile, keeps the capacity crowd in motion to a deft bassline. The metronomic, cowbell-happy drumming of David Maclean, the group's sometime producer, only adds to the momentum.

Perhaps the most impressive aspect of the performance, however, is the ease with which Django Django incorporate their more eccentric tendencies into the live show. Whether using halves of a coconut during 'Love's Dart' or embracing traditional Egyptian melodies on 'Skies Over Cairo', these moments seem neither convoluted nor pretentious, but entirely appropriate. It is this rare capacity to combine art-rock flair with dance-punk passion that makes the group's recent emergence so exciting. Go and see them next time they're in town. Take your dad.