The Magnetic Fields never disappoint. They’re one of those amazing bands that become better and better with each new record, always finding new ways to maintain their unique sound. Distortion, the latest release from the morose quintet, is no exception to the rule - in fact, it’s reinforcement.

Lead singer and producer Stephin Merritt wanted to make an album just like The Jesus and Mary Chain’s Psychocandy, and he did just that -- with his own twist, of course. Complete with traditional Magnetic Fields wit, gloom, and theatrics, “Distortion” is a dream come true for dedicated listeners of new wave and indie pop, serving as a strong match to the genre’s best work.

The influence is heard mostly through epic guitars, distorted vocals, and a lot of synth. Still, while Merritt and Co. were clearly going for the sounds of the eighties -- albeit more so than usual -- the new release still feels very much like a Magnetic Fields record, proving Merritt’s song writing abilities stand the test of experimentation.

The opener, "Three Way," is a sunny and direct track consisting of no lyrics other than the title sporadically shouted throughout. It’s not the type of instrumentation anyone familiar with the Magnetic Fields’ back catalogue would expect, but is a wonderful throwback to new wave and even a little post punk. Though reminiscent of Wire’s Pink Flag in its simplicity, “Three Way” is etched with a touch more melody.

In a recent interview with "All Things Considered" for NPR, Merritt discusses how he wanted the new record to "contrast with 2004's i" and equipped the album with nearly "the same instrumentation on every song." Oddly enough, the LP in no way sounds like one giant track. Instead, each song, much like the opener, is a throwback to new wave in its own way.

"California Girls" pays homage to the J&MC in the most obvious ways. The layered and echoed vocals sprawl over grinding and fuzzy guitars. The track even ends in a fade-out, reminding listeners that when the Magnetic Fields go for a specific sound, they go all the way.

Merritt’s vocals drip, much like honey in fact, on the track "Old Fools." With lines like, "Old fools/who believe they can dance and sing and fall in love, after all," the song is the typical romantic vision we’ve come to expect from Merritt, but this time the beauty is found in the fuzzed-out guitar that guides and cradles Merritt’s voice throughout the track.

While the album has its brighter moments, Merritt does not abandon his lonely ways, as we hear on "Mr. Mistletoe" and "I’ll Dream Alone." Each track features a protagonist reminiscing about a lost love, a usual theme found in their songs, that really none of their albums would be complete without.

"Please Stop Dancing" is a fun and more typical track on the album. Though bands tend to stay away from duets nowadays, Merritt and Shirley Simms remind us what we’re missing out on. A delightful track, it is pushed forth by a steady tune and some of the clearest drumming on the record while displaying a unique and refreshing contrast between the two vocalists.

It’s a good thing we know not to expect the Magnetic Fields to be entirely serious and sullen. On "Zombie Boy," Merritt sings of the absence of day trips replaced with evening strolls as Zombie Boy and Merritt are decked out in "silk slips, high heels, and mink stoles."

The quintessential Magnetic Fields track on Distortion is "Too Drunk To Dream," with a beginning quite similar to 69 Love Songs’ "Absolutely Cuckoo." Merritt sings his familiar blues with lines like "I’ve got to get too drunk to dream/because dreaming only makes me blue/I got to get too drunk to dream/because I only dream of you."

The influences of the eighties and of Psychocandy are more than apparent -- some might even say overstated. At times, you can almost smell the leather on the jackets and feel the crunch of the hair spray. But, then again, what is a Magnetic Fields record if it’s not theatric and overstated?