Artist: The Magnetic Fields
Album: i
Record Label: Nonesuch

Stephen Merritt, the svengali of The Magnetic Fields has crafted a somber yet thoroughly enjoyable follow up to 1999’s triple album, 69 Love Songs. The music on i is not unlike the music on the aforementioned pastiche which brilliantly blended refreshingly intelligent and idiosyncratic songwriting with an amalgam of musical genres. i is just as playful and quirky as 69 Love Songs, yet is sonically more consistent.

The inner sleeve claims, "no synths" (this is reminiscent of 70’s Queen albums that boasted the same) which is surprising as on the pseudo-techno, I Thought You Were My Boyfriend. With i being a more acoustic and mellow album, a seemingly trite dance song does not appear to fit; yet it does. The studio wizardry which takes acoustic instruments and makes them sound almost sterile and danceable is impressive. It is a testament to Mr. Merritt’s staunch adoration of pop geniuses ABBA.

An important key to the musical consistency of i is Sam Davol’s cello playing. Throughout it acts as a romantic heartstring having had been tugged into many precarious corners of emotion and now is finally free to tell of its experiences both sordid and grand. i is sodden with its sound. The songs are like chapters in an epistolary with the conceptual glue being the cello.

Merritt’s lyricism which has been likened to Cole Porter in recent years, is always a pleasure. He mixes acerbic wit, quirky references, "Feels like December, but it’s May... I’ve gone as pale as Doris Day" and sheer playfulness, "My evil twin would lie and steal, And he would stink of sex appeal." Musically, i is adventurous while never being overzealous or cocky. The bluesy and joyfully antiquated, I’m Tongue-Tied flows flawlessly into the harpsichord laden, In an Operetta. Merritt’s vocal performance also deserves appreciation as he summons the smokingly slow phrasing of Julie London on Infinitely Late at Night. And on the final cut, It’s Only Time, his voice exudes a sentimental hopefulness that is both an endearing and beautiful ending to a finely crafted album.

Artist: Morrissey
Album: you are the Quarry
Record Label: Attack Records

This is Morrissey’s first record since his record contract was axed in the late nineties. His last attempt, 1997’s Malajusted seemed uneven and at times half-assed. you are the Quarry displays much more passion than the former.

The songs on you are the Quarry showcase Morrissey doing the two things he does best: begging for forgiveness, love, understanding, or an explanation and making bold and histrionic declarations. Within the first ten minutes he declares his love/hate relationship with America and England and that he has forgiven Jesus. Later he hopes that a lonely housewife will, "be good to yourself and you’ll come and join the girls" in All the Lazy Dykes.

Lyrically, he pulls out all the old tricks for the most part—the ones that made all of his work with The Smiths and his early solo work so indelible and original. "Come Back to Camden" belongs in this group. The self-deprecating song is beautifully matched with his fragile soprano resplendent with its seemingly wilting vibrato. Morrissey is a beautiful pop singer who can evoke a sadness and sense of decay in his sighs and dramatic breaths.

The other songs mix more rock with pop that better suit the overall mood of the album. His pop vocal performances at times seem to be an awkward pairing with the can-opener grind of the rock songs, yet he pulls it off with ease. It works because underneath the 60s inspired melodies there are the visceral and edgy yearnings of the New York Dolls stewing below the surface.

The first half of this record is quite appealing, yet the latter seems to teeter off a bit as songs like, I Like you, You know I Couldn’t Last and Let me Kiss You lack the bite and urgency of Irish Blood, English Heart or the desperation of The World is Full of Crashing Bores. All in all, if you are a Morrissey or Smiths fan you will enjoy the record as it has substance in its songs and passion in its performances. If you are new and interested, you should start with any Smiths record or his first several solo outings, Viva Hate, Bona Drag, or Kill Uncle.