The 6ths are a side project of the Magnetic Fields' Stephin Merritt, who produced and wrote all of the material on 1995's Wasps' Nest, as well as playing much of the music. He only sang one of the tracks, however, giving all of the remaining lead vocal slots to alternative rock faves like Barbara Manning, Dean Wareham (Luna), Georgia Hubley (Yo La Tengo), Chris Knox, Lou Barlow, Robert Scott (the Bats), Chris Knox, and Mary Timony (Helium). Brighter and poppier than his contemporaneous efforts with Magnetic Fields, it demonstrated (intentionally or inadvertently) that his principal talents are as a producer and composer, rather than a performer. Hot on the heels of the well-received Magnetic Fields project 69 Love Songs, Merritt released his second 6ths album, Hyacinths and Thistles, with vocal help from Marc Almond, Bob Mould, Gary Numan, and Sarah Cracknell, among others.
A one-of-a-kind collaborative effort, masterminded by producer/songwriter Stephin Merritt, and sung well by various cult stars of the alternative rock scene. The results are unusually successful, if a bit toward the light and precious side, mixing indie attitude with melodicism and production finesse.
Stephin Merritt's the 6ths' second album isn't nearly as dynamic as his Magnetic Fields' 69 Love Songs, nor is it quite as good as the first 6ths' album, Wasps' Nests. It is, however, another crowning achievement for Merritt. "As You Turn to Go," with Scottish eccentric Momus, is one of Merritt's most moving love songs, a tender, irony-free caress. And the atmospheric "Oahu" wraps its spare melody in a package of primitive synth beeps (which repeat the same tranquil loop for the album's concluding 25 minutes). Hyacinths and Thistles falls between Merritt's two musical passions: old-style songwriting and '80s new wave. But the abundant, and diverse, choice of vocalists here (including Sally Timms, Bob Mould, Melanie, Gary Numan, and Marc Almond) puts the accent on the song, rather than the singer. Take this as Merritt the songwriter's demo tape, indication of what he is capable of.
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Not only are you a lisper's nightmare. You're also a nightmare for the Germans. Germanic folks very often have trouble with the th sound. When I was teaching English to Germans I would get them to say your name and the titles of your albums and chuckle to myself with as they struggled through it- Schadenfreude of sorts.