The trouble with Eichmann was precisely that so many were like him, and that the many were neither perverted nor sadistic, that they were, and still are, terribly and terrifyingly normal. From the viewpoint of our legal institutions and of our moral standards of judgment, this normality was much more terrifying than all the atrocities put together, for it implied — as had been said at Nuremberg over and over again by the defendants and their counsels — that this new type of criminal, who is in actual fact hostis generis humani, commits his crimes under circumstances that make it well-nigh impossible for him to know or to feel that he is doing wrong.   Hannah Arendt

Sunday, April 13, 2008

Hyacinths and thistles

Stephen Merritt is a bit of a hidden treasure of pop. Those who know of him love him, but they are relatively few. The Magnetic Fields albums, particularly 69 love songs, are fantastic showcases of his songwriting talent and nouveau crooner's voice, velvety and deep, a more soulful Leonard Cohen. The songwriting is on display in his 6ths project, although mostly others do the singing. I think that the project lacks a little on account of that, because Merritt's voice is so suited to his songs, and he picked such a lifeless bunch for this album. Given the talent on display, I found the album a bit disappointing, and have only listened to it a couple of times. Only the Sarah Cracknell track had any real Oh wow factor, and I put a lot of that down to the shock of recognition (possibly lacking with Marc Almond because his track is so weak and it doesn't dawn on you that it's him; you know it from the first note).

If you're a connoisseur of adult pop, you might find a place in your heart for this, but you're more likely to love the Magnetic Fields, where Merritt's range and invention are much more rewarding. It's not a bad album, but you aren't missing much if you never hear it.

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