Of Montreal’s ecstatic rave
19th November 2008
Kevin Barnes, Of Montreal’s singer/songwriter, is either a complete genius, freak or lunatic — or all three, which can be attested on “Skeletal Lamping.” The CD showcases his randy falsetto, his African American cross-dressing alter ego Georgie Fruit and songs befitting an ecstasy rave. There’s little time between the tracks, and they are all full of filthy sex acts and experimental sounds, so it feels like one song with 15 acts.
“Nonpareil of Favor” starts the fun with a dance-happy number that features a barrage of drumming as the antithesis to trippy “ahhs.” “Wicked Wisdom” follows with funky basslines, a feedback-y tinge and the morsel, “When we get together/ It’s always hot magic.” The catchy “For Our Elegant Caste” is an early standout that precedes the short “Touched Something’s Hollow” with its churchy piano and melodic falsetto, before horn-blasting into “An Eluardian Instance.”
The upbeat “Gallery Piece” revels in Barnes’/Georgie’s intriguing fantasies prior to “Women’s Studies Victims,” which begins with a Tom Jones-esque bass and changes its tone at least three times. “St. Exquisite’s Confessions” starts slow and lopes, making you think it was a love song. “Triphallus, To Punctuate!” is another standout.
The CD goes ’90s Britpop on “And I’ve Seen A Bloody Shadow,” with its throaty piano and the great line “It’s just really bad weather in my temporary head” and on “Mingusings,” with a gritty synth underlay.
The lengthy “Plastis Wafer” has Barnes declaring, “You’re the only one with whom I would roleplay Oedipus Rex.” It features many sub-sounds, from club-y to sweeping to downright animalistic. “Death Isn’t A Parallel Move” has a heavy electronica start before becoming a soft offering, while “Beware Our Nubile Miscreants” begins with sweeping violin that goes distorted. It’s a fun track that mentions “Halo” and crystal meth in the same verse.
“Id Engager” ends the CD where we picked it up: Like a randy roller rink free-skate romp complete with falsetto, ooh-ooh-ahhs, screams, and a “He’s just a slutty little flirt” for good measure.
The musicianship of Of Montreal plays off Barnes’ lyrics and always-changing voice brilliantly. Even if you can’t comprehend or condone Barnes’ intentions, you can at least rave like you’ve got an alter ego of your own.
Rating: WWWW
Source: The Weekender