The Magnetic Fields
Holiday

THE REVIEW

The years 1994-1995 mark the most prolific period in the career of the Magnetic Fields, and it is during this time that Stephin Merritt is confirmed as the sole mastermind of the project, which had previously seen the presence of various collaborators.

Precisely in 1994, Merritt, with only the presence of Johny Blood (tuba) and Sam Davol (cello), composed the 14 tracks of "Holiday," playing all the instruments (necessary for a pop record worthy of the name). At first listen, Merritt's baritone voice is immediately noticeable, delivering excellently crafted lyrics that balance his peculiar romanticism and a strongly cynical irony. The sounds fluctuate between synth pop and more traditional indie pop, all characterized by a deliberately sought-after lo-fi aesthetic. The album moves along these coordinates in all the tracks, dominated by electronic instrumentation that almost devours the other instruments. Just consider the introductory "BBC Radiophonic Workshop," 20 seconds of loop, which introduces "Desert Island" featuring fuzzy guitars, drum machine, and keyboards.

But it is especially in the shorter tracks that Merritt confirms himself as one of the best pop musicians of the last thirty years: particularly memorable are "Deep Sea Diving Suit," where we find folk elements, and "Swinging London," the best of the album in my opinion. When the album seems to become somewhat monotone, the minimalist baroque-pop of "Sad Little Moon" proves us wrong. The album closes with "Take Ecstasy With Me," splendidly arranged by Merritt. "Holiday" is, as mentioned earlier, the most electronic album in the career of the Magnetic Fields. This very sound will later be abandoned in the "no-synth" trilogy (composed of "I," "Distortion," and "Realism"); however, electronics will never be overlooked by Merritt, who will give life to the side project Future Bible Heroes.