Review Summary: Realism - a disappointing end to an otherwise well-executed trilogy.
Now that
i,
Distortion, and
Realism have been released, The Magnetic Fields's "no-synth" trilogy has to its conclusion, and perhaps it was for the best. Granted, the saga brought some pretty neat things to The Fields's portfolio, such as the childish awe of
i and the fuzzy ‘60s reminisce that was
Distortion, both of which were executed nicely, but what about
Realism? Undoubtedly, it's this "no-synth" trilogy straying as far from the band's indie-pop roots as possible, favoring folk collages rather than lilting acoustic songs and electric thoughts that were once staples of his works (primarily
69 Love Songs but very few doubt that said triple-LP will be his lasting opus). But does that mean a complete change in style for Merritt? No, his lovable irony is still intact and molding his music's themes. In that spirit, his charm is also intact, as well as his wit. But what isn't is his past songwriting abilities.
Realism eschews the elegant pop melodies of tracks like "Take Ecstasy With Me" in favor of what can only be described as a plateau. There's no real growth to many of Merritt's ideas on
Realism; there's no decrescendo or an end to his ideas on some tracks like "Interlude." Even some of the better moments on this album, such as the first moments of "I Don't Know What To Say," are brought down by their utter refusal to grow into something more than a constant repetition. Sure, they're lovely, but Merritt's works need some sort of disparity in order for him to avoid being just another indie pop artist.
Granted, most artists do need some sort of change to be as effective as possible; hardly anyone can be as effective as possible when constantly repeating ideas, but Merritt seems to have either forgotten this, or lost the wherewithal to do so. It has been around two decades since The Magnetic Fields's formation, so it's not impossible. Maybe
Realism serves a purpose other than the extension of his discography; maybe his lyrics and music are taking a turn for the worse because he's signaling the end of Magnetic Fields's long career? What leads me to that conclusion, you ask? Well, he's running out of ideas, of course, and in a futile attempt to disguise this, he's polishing up his music so much that all sense of the campy, the kitsch, and the complex is muddled. (If you didn't know those are some of the best things about Merritt's work; his distinct personality and his songs go hand in hand for the better.)
"We Are Having a Hootenanny" is an exception to the rule though, successfully weaving a serene folk style with an almost buoyant sense of pop. However, it's still not a highlight; it's on par with
Realism, and nothing less nor more. But a track which is just as much a novelty ("The Dada Polka") is nowhere as good for the second reason: Merritt's obsession with polishing all of his rough edges. Merritt's shown that he can successfully weave the stately with the not-so-stately on the other two installments of his "no-synth" trilogy.
i was of course his little piece of whimsy and
Distortion was a melancholic and nebulous descent into his thoughts, but what about
Realism? As previously stated, he's gone in a far more folksy direction; tracks like the aforementioned "We Are Having a Hootenanny" are comprised of bucolic and relaxing acoustics, in which Merritt's baritone again slides in and out seamlessly. But that track feels like its title suggests, a hootenanny. What about the outrageously dull "Painted Flower?" With tracks like these, all the elements which go into a good folk song are intact, but it's too old-fashion and low-key to truly work, let alone intrigue. Many songs here feature a vast array of folk and string instruments, which sneak in and out of the mix, but they easily become expected, unlike Merritt's previous works, which were anything but. However, that's not the only difference between his newest record and his back catalog: now he's starting to turn superficial.
His songs used to bite; now they just bark with hints at social commentary, but no real commitment. No longer does he list the decomposing minority customs; no longer does he sympathize with the average worker. Now, he's ambiguous.... Does he really want to continue making artistic statements, or is that phase going to be replaced by some ineffable immaturity? Perhaps that's something we'll have to realize, after all, because it's hard not to think that Merritt's music is withering, even if there is some potential within the sub-par depths of
Realism. Album opener "You Must Be Out of Your Mind" is one of Merritt's best tracks to date, successfully refining the unruly and catchy nature of albums like
Holiday. "I Don't Know What to Say" is also one of
Realism's highlights, trafficking in melodious, somber pop - unfortunately, they're just not enough to propel
Realism much higher than what is average, and ultimately, a watered-down, folksier version of Merritt's past.
