Stephin Merritt Talks About How His Love For Shopping Affects His Songwriting

Categories: Interviews

Starting with 69 Love Songs and up to Love at the Bottom of the Sea, each album has had some set of parameters in place. Was this an exercise in discipline, or was it a way to push you in a different direction?

Well, with Distortion and Realism it had more to do with the arrangement and direction. With Distortion we had all of the instruments feeding back all of the time. And Realism was recorded like a folk album. It really had nothing to do with the songs or the songwriting though.

When you released Distortion you cited Jesus and Mary Chain's Psychocandy as an inspiration. Have there been any other albums that have inspired you recently--whether it is the production or the songwriting?

No. It was just the production. Specifically, the guitars that sound like vacuum cleaners.

Were you going for a specific model, like an antique Hoover or Electrolux?

Actually, there are some vacuum cleaners that are really quite quiet, and they don't even scare the dog. However, I have an Electrolux that I'm very happy with, but my dog is terrified by it.

While you write all the Magnetic Fields songs, you often tap Claudia [Gonson] (vocals/piano) or Shirley [Simms] (vocals/harp) to handle the vocals. Do you ever feel more or less accountable when you have someone else singing your songs?

I often find it more pleasurable to listen to the songs that I don't sing. When it's me singing, I hear it all as little mistakes. But when it's someone else, it's easier to appreciate the song.

The gender of the antagonists in your songs always seems to fluctuate. How do you usually determine which gender to assign?

Actually, it's often the last thing that's determined. If I'm going to have Shirley sing a song, I don't necessarily decide to have her sing based on the genders in the song. Usually there are assigned genders. But if one rhymes well, or if it fits better, I don't get attached to a specific gender.

Back in the days of Motown, when you had old men writing songs for young women, this was a little more common. It's more rare nowadays.

Well, most of the music I listen to is old. I don't consider myself to take much of a singer/songwriter approach. I'm more of a Brill Building / Tin Pan Alley guy. It wouldn't really bug me if I never sang again.

Could the same be said for songwriting?

No, I really like writing songs. In fact, sometimes I do it by accident. That happened this morning.

Speaking of, you have said that "Andrew in Drag", the first single on your new album, came about in a similar manner.

Yeah, I was hanging out a bar for an extra-long time. And I must have gotten really drunk because I left my car at the bar so I wouldn't, you know, drive home. And I actually didn't remember writing a song or leaving the bar. And the next day I woke up and saw "Andrew in Drag" right there on the notepad. Now, I don't usually do that, but sometimes I do and it's really productive.

I read an interview where you warned gay singer/songwriters about coming out early in their career. Can you elaborate on that?

I don't think I was talking about songwriters as much as singers. [long pause] I wasn't trying to make a political statement, I was just stating that I have observed that the people who have [done it right] are the people who have only come out after they have had success. I think that it would appeal to a wider variety of people if the gay people can figure out you're gay without you having to say so. Like, say, Morrissey.

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The Sheldon

3648 Washington Blvd., St. Louis, MO

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