Tag Archives: False Priest

Album Review: of Montreal – “Lousy with Sylvianbriar”

of Montreal - "Lousy with Sylvianbriar"
of Montreal – “Lousy with Sylvianbriar”

I’m sure I already said this, but I’ll say it again: every time that of Montreal releases an album I get nervous. I don’t know why this is. I have never been disappointed by anything that the band has ever done. Even obscure B-sides, EPs, old stuff, early 4-track recordings, I absolutely love all of it.

Well, now that I have my absolutely unabashed bias out of the way I’ll get to the part where I actually talk about the album.

Yes, Kevin Barnes has ditched his entire band that he’s worked with for almost 10 years. I think that some of them (Dottie Alexander, maybe B.P.?) have been with him even longer.  It makes total sense though, considering what this album is all about. Something else that I’ve talked about is the psychological story arc that takes place from “Hissing Fauna…” all the way through “Paralytic Stalks,” and that is over now. I guess that was the first thing that I was happy about when I listened to the album all the way through for the first time, which was actually yesterday when it was streaming for free on some other music blog. I’m not happy because that’s over, I’m happy because this album, working the way that it does, strengthens my thesis of the story arc in that it does not continue through this album. Georgie Fruit is dead. Kevin Barnes is back.

The way that this album works is as more of a singles collection than the album oriented rock that the band had been exploring for at least the past 6 releases. It’s as if the band clipped off its trajectory after “Aldhils Arboretum,” became an electro pop band for like 10 or 11 years and now they are back again with concise songs.

The personal lyrical content is, of course there, but the sound is certainly more immediate. Less studio wizardry is involved. The album feels more like an actual live performance than anything they have put out recently. It’s a nice balance between, on the one hand, albums like “Sunlandic Twins” or “Hissing Fauna…” that added that element of lysergic haze generated through synthesizers and dance beats, and their early whimsical works like “The Gay Parade” or “The Bedside Drama.” The songs are written for a “rock band” (ie guitars, keys [acoustic], bass, drums) like the earlier material, and for that matter the Beatles influence shows through on a couple tracks of “Lousy with Sylvianbriar,” but the lyrics discuss personal relationships and still have the intricate basslines that came out of the middle-period works.

I think that this album starts off a new era for of Montreal, where there was the early material from “Cherry Peel” through “Coquelicot Asleep in the Poppies…” as the first period; the middle-period would be “Satanic Panic in the Attic” through “Paralytic Stalks,” [and yes, I know that that covers a ton of music and a lot of changes, but I think that the main thing that I am thinking about is the movement from mostly acoustic, retro and poppy to more synth-dance based with more personal lyrical content] and now “Lousy with Sylvianbriar” beginning the most recent step in the bands evolution.

The pedal steel has stayed from “Paralytic Stalks,” as has Kishi Bashi on violin, which is a good thing; and verse-chorus-verse structure has also become a constant element once again on this album. The addition of Rebecca Cash on vocals is the first time that someone other than Kevin has sang on an official release (“Keep Sending Me Black Fireworks” appeared on the Sunlandic Twins bonus EP, featuring Nina Barnes [Gemini Tactics] on vocals). Cash’s voice is most certainly a welcomed addition most notably on “Raindrop in my Skull”, adding a smooth and relaxed approach to singing that contrasts nicely with Barnes’ sneer.

And as far as the overall sound of the tracks goes, I don’t think I have ever heard the drums on an of Montreal record done so well. The bass drum is nice and dry, adding to that element of presence and live performance sound that I mentioned earlier.

In my opinion the second side of “Lousy with Sylvianbriar” is the side to beat. That side is stacked with driving, edgier songs that show the band really stretching out. The echo and brightness of a country twinge comes across loud and clear on “Hegira Émigré” with extensive pedal steel solo combined with a speedy and clean solo guitar work (sounds like a Les Paul). The album ends on a bombastic note with “Imbecile Rages,” with Barnes’ showing off his vocal stamina, holding his final note across 5 measures with a raspy, powerful yell.

Once again of Montreal has not disappointed. Considering that I have had the album for about 7 hours and I have already listened to it 6 times, I think that it is going to remain in heavy rotation around here and most likely on the year end best-of list. And I’m sure that I am not the only one that is going to have it on their year end list.

The album is out now on Polyvinyl. It’s also streaming on Spotify.


New Track: of Montreal – “Fugitive Air”

of Montreal's "Lousy with Sylvianbriar" will be out October 8, 2013
of Montreal’s “Lousy with Sylvianbriar” will be out October 8, 2013

It’s always exciting (at least to me) whenever of Montreal releases an album. They have entered the ranks of “band that can do no wrong” in my mind. I have nothing but love for their entire recorded output. So, naturally, as soon as I saw that this album was up for pre-order I jumped on it.

Though, I will have to admit, after reading about the new direction that Kevin Barnes took when recording this album (one would usually do that prior to throwing down cash for the album, but I knew that I was going to end up buying it regardless). It made me nervous to read that “Lousy with Sylvianbriar” was created with a new songwriting approach, a different recording method, and a fresh group of musicians.” Ok, I am fine with a new approach (I love “Skeletal Lamping”) and I’m on board for a different recording method (I still regularly listen to “False Priest”) but what makes me nervous is that last part, “a fresh group of musicians.”

What did he do with B.P., why did he ditch Dottie? And Davey! You can’t get rid of the bass player in of Montreal! I realize that for years we have been listening to Kevin Barnes’ nervous breakdown, but this is crazy. I’m am keeping the faith, though I’m also not entirely sure what the tour will hold. Rebecca Cash has a fantastic voice that lends a relaxed air to the version of “Feminine Effects” that appears on “Daughter of Cloud.” I’m hoping that will continue through this album as well.

So yes, I am nervous. But that is exciting. The band….Kevin…..is taking gigantic risks with each release and this is just the latest incarnation of those risks. As a fan it’s been great to sit back and listen to the results. He hasn’t let me down yet. It’s like a trust fall.

We have one song as a preview right now, “Fugitive Air,” which will be the opening track on the album. The immediacy of the album’s recording process (apparently 3 weeks from beginning to end) breathes new life into their sound. Barnes takes a soulful approach to his vocals that sounds vaguely bluesy, with a touch of scratchiness added to the production. The song’s bridge transforms itself into a lengthy coda that changes the overall tone of the song from a song that drives forward to one that floats. Lots of good stuff in this track.

Listen to it a few times and get yourself adjusted and excited. The album is currently available for pre-order from Polyvinyl on CD, Vinyl (180 gram “sea glass green,” limited to 1,500 copies), and was also available on green tape (why anyone would buy a tape is beyond me) but it is now sold out.


Catch oM on tour:

10-18 Athens, GA – 40 Watt Club
10-22 Carrboro, NC – Cat’s Cradle
10-23 Washington, DC – U Street Music Hall
10-24 Washington, DC – U Street Music Hall
10-25 Philadelphia, PA – Union Transfer
10-26 Cambridge, MA – Middle East
10-27 Brooklyn, NY – Music Hall of Williamsburg
10-28 Brooklyn, NY – Music Hall of Williamsburg *
10-29 Cleveland, OH – Beachland *
10-30 Chicago, IL – Lincoln Hall *
10-31 Madison, WI – Majestic Theater *
11-01 Minneapolis, MN – Cedar Cultural Center *
11-02 Omaha, NE – Waiting Room *
11-03 Denver, CO – Marquis Theater *
11-04 Salt Lake City, UT – Urban Lounge *
11-05 Boise, ID – Korah Shrine *
11-06 Seattle, WA – Neumos *
11-07 Portland, OR – Wonder Ballroom *
11-08 San Francisco, CA – Great American Music Hall *
11-09 San Francisco, CA – Great American Music Hall *
11-10 Los Angeles, CA – Echoplex *
11-11 Los Angeles, CA – Largo at the Coronet *
11-12 Tucson, AZ – Club Congress *
11-14 Dallas, TX – Trees *
11-15 Austin, TX – Mohawk *
11-16 New Orleans, LA – Howlin’ Wolf *
11-17 Atlanta, GA – Terminal West *

  • with La Luz


EP review: of Montreal – "The Controllersphere"

This EP picks up exactly where “False Priest” left off. I mean that in the most literal way possible. This release can be viewed as an addendum to their last full length offering that was released not 7 months ago. “The Controllersphere” is 5 full tracks worth of Kevin Barnes trying out some of his more daring ideas, heading off in directions that aren’t explored in previous albums and possibly giving us a look at what is to come. This seems to be the way that of Montreal likes to do things now, releasing an album and not too long after its release more tracks that might appeal to their more ardent fans are presented. It was the case with “Hissing Fauna, Are You the Destroyer?” of 2006 where “Icons, Abstract Thee” followed. Also “Sunlandic Twins” featured a bonus EP as did “Skeletal Lamping”.

This release is the third that takes its name from one line of “Faberge Falls for Shuggie”, which appears on their breakthrough release “Hissing Fauna, Are You the Destroyer?” In a way one can draw a line through these three releases, “Skeletal Lamping”, “False Priest” and “The Controllersphere”. This trilogy can really represent a new direction for of Montreal that saw Kevin Barnes becoming significantly more influenced by psychedelic rock and funk and allowing those influences to really take shape in his songwriting.

The opening track, “Black Lion Massacre” takes the ideas of “False Priest”’s “You Do Mutilate?” and creates another freakishly frightening sonic landscape with the spoken word coming down to us through a backdrop of apocalyptically overdriven noise and feedback. A sort of live energy side of of Montreal that is rarely captured on disc is evident here, drenched in the noise of caterwauling guitars and drums that are wild and  more present than usual. As is usual with of Montreal releases some of the tracks have rather eccentric titles, such as “Flunkt Sass vs. The Root Plume”. The track starts off innocently enough with a gently strummed acoustic guitar appearing for all of ten seconds before exploding into a tripped out, layered nightmare that is perfectly depicted by the cover art, which is done again by Kevin’s brother David. The song continues to build as Barnes screams out in his best Ziggy Stardust, sounding like he is re-entering the atmosphere after space travel without the aid or protection of a shuttle. The screaming, loud, live sound is present in this track as well, like the first.

of Montreal - "The Controllersphere"

Lyrically the themes that of Montreal has been exploring for some time now like loneliness, unrequited love, feelings of insanity and obsession, are explored throughout this EP. The line “Even this ghetto world that has nothing, doesn’t want me” appears in “Flunkt Sass vs. The Root Plume” explores themes previously broached, but the added volume and noise adds a new dimension and desperation to the sadness. The insanity is dialed up to a breaking point, it’s like Kevin Barnes’ primal scream captured on record.

“Holiday Call” is a soulful, spiritual track that is based on folk elements, though those elements are somewhat buried beneath quite a bit of the usual panoply of psychedelia. At over 8 minutes long it is the lengthiest track, allowing for a very interesting turn of events at about the halfway mark that conurs up the sounds of middle eastern folk music with a repeated fiddle gesture, placing the usually busy, up-front bass in a more secondary role. Barnes mentioned via his twitter stream (@xxofmontrealxx) upon release of this EP that it was heavily folk influenced, and that was the direction in which he was going to be heading. He is certainly a man of his word, as odd and unbelievable as that word may often be, he manages to make it happen.

The changes in mood on this EP are more sudden, like the entire “Skeletal Lamping” album, which comprised songs that were seemingly comprised of several short songs melded together. Unlike “Skeletal Lamping” the songs here are still cohesive, and more or less similar in sound to those that appear on “False Priest”. “L’Age D’Or” and “Slave Translator” are definitely spawns of the funk of that album.  Each track is rather wordy. Barnes rushes to fit them all in, even more so than usual. He screams like his body is being torn apart from the inside out one minute and the next is harmonizing sweetly with himself. “The Controllersphere” ends where it began, in a wall of noise. This is a powerful 5 track EP that delivers exactly what was promised not too long after “False Priest was released. of Montreal is great at creating a world of their own both on record and live where their shows are theatrical spectacles concocted from the mind of Kevin and David Barnes. It seems fitting that Polyvinyl is releasing this EP concurrently with a book of David Barnes’ artwork entitled “What’s Weird?”, which I’m sure would be a perfect companion to this release.

[audio:http://quartertonality.com/wp-content/uploads/2011/03/02-of-Montreal-Flunkt-Sass-vs-the-Root-Plume.mp3|titles=Flunkt Sass vs the Root Plume]