Stephin Merritt of The Magnetic Fields might not read his own press, but if he did, he’d know fans are loving the band's return to synth-heavy sounds on Love at the Bottom of the Sea. But don't expect him to bask in the praise.
In an interview with Kyle Meredith With..., Merritt discusses the intentional shift back to electronics after a trilogy of acoustic-leaning albums, how he feels about being the subject of a documentary, and why he’d never attend a Magnetic Fields concert.
"We've done Love at the Bottom of the Sea, which is a triumphant return to synthesizers," Merritt says. "But we're using synthesizers in a very different way—more chaotic sounds, like many ducks being tortured or the wind in the trees." His sardonic tone suggests he’s only half-joking, but the creative reinvention is real. The shift from the softer textures of albums like Realism and Distortion back to something more electronic wasn't just nostalgic—it was a conscious evolution.
Yet, despite the critical acclaim, Merritt doesn’t dwell on how the record was received. "I don't actually read my press," he shrugs. When informed that the album was hailed as a "return to form," he simply responds, "People overuse that term."
Merritt's disdain for publicity doesn’t stop at reviews. The recent documentary Strange Powers: Stephin Merritt and The Magnetic Fields gave fans a rare glimpse into his life, but he’s not thrilled about that either. "I actually didn't realize we were making a documentary for quite a while," he admits. "I definitely would have dressed better and worn some makeup—and made Claudia take off her 'New Jersey Is for Lovers' t-shirt."
The film dives into Merritt’s songwriting process, including his habit of writing in bars, specifically gay bars. But even that revelation feels like too much for the notoriously private artist. "I feel like we've destroyed our mystical mysteriousness by appearing without any image-mongering," he laments. "We tried to image-monger a little bit, but we failed in the documentary."
For Merritt, maintaining that mystique is part of what keeps music compelling. "I think that's one of the reasons why rock and roll has survived the way it has," he reflects. "You have to keep a little bit of mystery." But he’s skeptical about pop music’s longevity. While some argue that the formula of verse-chorus-bridge has a shelf life, Merritt thinks the history of pop stretches much further back than people realize. "We haven't come very far since the songs they used to do in the theater in the 1800s," he says.
And while many musicians thrive on live performance, Merritt has no interest in attending his own shows—or anyone else's. "I don't like going to concerts in the first place," he confesses, citing a hearing disorder that makes everything too loud. Even if that weren’t an issue, he adds, "I like recorded music. We're much better on record."
Despite his aversion to the spotlight, Merritt’s wry humor and undeniable talent continue to resonate. As for the future? Expect more surprises, more synths, and probably no fewer tortured duck sounds.
Listen to the interview above and then check out the videos below.
