going down a couple of days by bike, Great Road, towards the center. There was too cold for what could be this season. Had not taken that particular route at every party and had to dodge the churros and the booths of artisans and merchants who caught me by surprise located above the bike path, mingling with one foot almost as sad as irritating traffic. While all this happened, I was listening to Stephen Merritt humming some of the songs Get Lost, and disappeared sometime in the jam and I thought "due to a connoisseur, to say 'Will you * Merritt * me? " should give much more afraid to say the obvious * marry * ". And this, a very bad and naughty jokes at the expense of the poor Merritt, perhaps as absurd as true. Shortly
merit has to point the finger the soul of The Magnetic Fields by eternal romantic (is evident) and a lot less grace. I got this album on rereading a great 1997 interview in which the article's author said it was "one of the disks needed for these five years," , and I thought "That's what I've heard a lifetime on 69 Love Songs , never on a previous album ". The same afternoon I went to the record store and I was seduced by the cover itself: the black and white image with the elegance of a frame in the fifties and the frivolity of a publicity photo of the eighties, dodging glances objective under the title "Get lost." The title is the best of the occurrences, "will refer escapism through fantasy that draws on the disk? Would the response that would give the recipient overwhelmed his thoughts?
Discovering these songs at a time in which one is learning to relativize everything and be a more practical and pragmatic dysfunction can create a small, but restricted. loving idealism Stephen Merritt is a simple and wise beauty so that you can let your guard down and ask "how much I'm censoring myself from thinking so much?" and regret not live with that intensity, but the good news of the cartoons that make Get Lost (absence, loneliness, courtship, love whatever it is) is that they are carried passionate about ends can only recognize a very specific fragments (magical or devastating) interpersonal relations, and the mental state of an illusion itself expires or, if not more, changing. In his songs Merritt makes something endless moments, just knowing that they are not, and it touches a chord within all of us, trapped in reminiscence of experiences Paradise stale and future desires.
summerA breath travels through the disk, guarded by the moon so recurrent in their texts and clear symbol of that feeling idyllic imagine a moon with marks and color of a parchment lined with the charm porous, perhaps motivated by the harshness of a music full array of toys: minimalist synthesizers, drum machines can refer both to the Young Marble Giants repeat as sounding like you would a string quartet puppets that cast a walk together, skeletal or timidly distorted guitars. This enriches the landscapes which stage set change as we turn on a carousel in which we set ourselves, but which are always accompanied.
'You and Me and the Moon "and" Save a Secret to the Moon' is infected with a natural optimism and melodically close to child gender, the first one is by euphoria Love at first sight, the second are moving images that will remove iron to secret crushes ( "In a dark room / write in a black balloon / and watch it away / keep a secret for the moon" ). 'Do not Look Away', with the distant harpsichord, has the severity of a crooner of the seventies and the same melodramatic, like the chord progression of 'The Desperate Things You Make Me Do' looks like your version what would be a disco song of reproach. The serious tone taken to the limit and sometimes expressionless Merritt is ideal for blowing an air of tragicomedy that is simply not a reflection of how we are caught by feelings: aware of the absurdity and the disproportion of what happens to us over the head, but still weeping and comfortable in self-pity (in the dirty pop of 'All the Umbrellas in London' is clear: "walk in circles because I have no sense of direction / (...) All the umbrellas in London could not stop the rain / All the drugs in New York could not kill this pain" ).
grateful hearts throb with lightness and joy in the beautiful summer 'Love is Lighter Than Air' (of which I spoke recently ) and 'The Village In The Morning '(the desire not to let anyone leave: the idyllic hit hard again), but Stephen won when he dives in lonelier introspection. 'Smoke and Mirrors' accentuates the dance and 'Why I Cry' is a warm halftime, but both speak of the ephemeral nature of the feelings returned. Alone with his guitar, 'With Whom to Dance? " fixation is saddening to find a buddy ( "The rest of life pales in significance I'm looking for someone to dance" ) and 'When You're Old and Lonely' the fantasy that he has stolen the heart realize how much you need one day, and the romantic image that he will not have anything better to do than keep track of the time.
prolongation or evoke feelings so beautiful and intense need not be harmful if administered properly and resorted to as you read a story that takes you to a place that usually is not allowed to step. In that sense, Get Lost is a great story and unsurpassed.
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