I've been to about 7 Of Montreal shows in my life, and still I'm never ready for what I am about to hear and see. I had the pleasure of meeting Matt from Youaintnopicasso.com and we kind of pondered what exactly the band could do on stage last night. We knew Kevin would be hung in a noose, but the rest was sort of up in the air. Talking to Ahmed a couple of weeks ago, he promised me that we were all in for some big surprises on this tour. That exceeded my expectations.

Last night's show at Roseland Ballroom in NYC can be described in only one word; EPIC.

The band came on stage dressed and ready to go. Jamey was in a cowboy outfit complete with hat, Dottie was in a tutu, Ahmed was in a blue vest and Afro wig, Davey was in a silver white jacket, and BP was wrapped in a giant orange silk scarf. Of Montreal came in with a brief musical introduction as four golden buddhas carried out Kevin who was wearing a Sombrero and traditional Mexican outfit. Of course this was the first of many costume changes. 'Id Engager' was the first song played, and WOW what a start to the show, that essential Kevin scream. Chills were just sent down my spine.

The band focused mostly on playing new tracks off of 'Skeletal Lamping' last night, and if I'm not mistaking, played most of the songs off the record. Seeing the new songs live bring a whole new aspect and life to them, which I really enjoyed. The dance party didn't stop all night. 'For Our Elegant Caste' which has currently won me over the past couple of weeks as my new favorite song was so good live i'm not sure I can believe it actually happened. "An Eluardian Instance" which is another favorite of mine, lived up to my expectations of seeing it live. I think it is one of the most beautifully crafted Of Montreal songs. The band was extremely tight. I think they finally 'mastered' all parts of the stage. Ahmed Gallab who has joined as the second drummer is a nice addition. Not only does it free up Jamey to play other instruments but it adds a heavier beat overall to the songs. BP was rocking out with the double head guitar last night which was a nice touch. Kevin's vocals were spot on every time, every little scream, every little note. Perfect.

One of the most wonderful moments of the night for me, was when Kevin sat at the piano alone and played 'Touched Something's Hollow.' The sound of his haunting voice over the sorrowful piano made it feel like a dream. If you were paying close attention, you could see BP sitting on his platform, looking over at Kevin, silently mouthing the words. It was just an astonishing moment to say the least.

Of Montreal also pulled out some favorites from the last few records, 'Hissing Fauna, Are You the Destroyer?', 'Sunlandic Twins' and 'Satanic Panic in the Attic.' One of my personal highlights of the night was 'Disconnect the Dots'. This still remains to be one of my favorite songs live. It brings the energy in the room up another notch if that is humanly possible. 'She's a Rejecter' had so much enthusiam put into it, I thought the band would collectively pass out from exhaustion.

I feel I have to list the theatrics in it's own section. They are two very things and the combination of them onstage is rather interesting. Seeing Of Montreal is really like going to see a play....on another planet. Of course David (Kevin's Brother) and Nina (Kevin's Wife) were part of the actors on stage last night along with Matt Wheeler (The band's tour manager) and I believe Nick (who does a lot of stage prop building for them.) There was also another woman on stage who must be new to the group and i'm going to go out on a limb and say its David's wife. I could very well be wrong.  Kevin's costumes ranged from glittery blue jackets with a large bedazzled fanny pack to golden underwear. During 'Gallery Piece' there was video of the band acting out lines from the song on the large screens. Truly hillarious.

Amongst the stage antics in New York was Kevin in a mythical man-horse suit, golden buddhas, ninjas, army people with machine guns, people in bathing suits, victorian costumes, a card game, people in in tiger and chicken costumes, large limbs made of what appears to be bumpy plaster (These later made up a person) and more.

During one point, the characters in silver masks tried to convince Kevin to kill himself. This lead to him being hung in a fake noose on stage, swinging side to side. Later on they smeared him in fake blood. During one point, Kevin came out on a white horse and sang. It was gorgeous. A really beautiful concert moment. So unexpected, so unbelievable. How do you even find a horse in Manhattan? I don't think anyone saw that coming. I'm not sure everyone in the band even saw that coming. Kevin also came out of the his coffin of shaving cream last night towards the end and hugged the crowd afterward to get it off.

Another unexpected surprise last night was when they brought out Andrew from MGMT. We were certainly in for a treat,  but that took a hard left turn that none of us saw coming. Kevin said they were going to play a song that Andrew wrote. I thought to myself, 'Wow! An MGMT song? I love MGMT!' but then they launched into Nirvana's 'Smells Like Teen Spirit'. The crowd transformed into 1992. Quite frankily I think Of Montreal made it sound better than Nirvana did.

The band ended the night with 'Gronlandic Edit' and all of the characters came out and bowed afterwards, ending another beautiful night with Of Montreal in New York. I love Of Montreal is so many ways. They know how to make you have a good time. They know how to get inside your head. They know how to make you smile. Everytime I see them I love them even more. I'm glad to have their music in my life. If it wasn't, well, life just wouldn't be any fun. 

Of Montreal @ Roseland Ballroom, originally uploaded by ihateanarchists.

Dear Kevin Barnes,

Listen, you already know this. You already know that I am completely and madly in love with you. This is why I've seen you performing those songs that are so dear to my heart--songs that make me smile, songs that make me dance, songs that make me sing, songs that make me cry, songs that make me feel and long to feel with every fiber of my being, songs that remind me of something that warrants countless memories or should not be remembered at all--four times now.

Each time, in front of me, in your glittered make up and absurd costumes, with your incredible band members, your tiger headed ninja dancers, your absurd stage show, you sang and danced and exemplified all the reasons why I adored you. You, there, on stage, embodied what a rock star meant to me. Your glamour and theatrics never detracted from the very real, very raw and intense emotions that boiled beneath the surface of your psychedelic glammy indie pop indie rock however you want to classify it brilliant music. Your sometimes nonsensical lyrics glimmered with lines and sentiments that I clung to in times when I thought I felt the same.

And last night, last night when I saw you with Love Is All (and for the first time adored your opening band! Thank you, thank you for that. If I had to suffer through the excruciating torture that is MGMT one more time in order to see Of Montreal I would have just died) at Roseland Ballroom, the show that I'd been anticipating for so long despite the fact that you know, it would be the fourth time and it wasn't the single concert keeping me alive in the desert that was the San Diego music scene, I at once fell that love explode in a fit of none stop dancing and singing and a faint question of where you were, really.

Oh, yes, you were there, in front of me. Through your costume changes, nearly naked on a live white horse, nearly naked with red paint slathered over your body, in a red priest's cape, covered in shaving cream, performing a series of suicides in every way--pills, razor, gun, and that theatrical hanging, through your various on stage personalities and acts, you were there. And you performed all of Skeletal Lamping--which, by the way, I adore--and even indulged us, your faithful and eager audience with a cover of "Smells Like Teen Spirit" (we appreciated every moment. We went insane, as I'm sure you expected us to, as you and the band and the song demanded). But, but, there was something slightly off.

When you begged the chemicals to make you feel good again, you weren't begging, were you? You had been the last time. This time you did it to appease us. We expected a dance party and you delivered one. But I wanted more than just a dance party, I wanted to feel that thrill that came at the height of the song, that explosive chorus fireworks in my head and heart. When you sat alone on that beautiful white horse, sick of sucking this dick of this cruel cruel city, and wondering how to please a woman, you sang beautifully as you always did. But it wasn't the same as last time, the very last song, when you dangled your feet over the ledge and sat there like a little child, swinging your feet, and reassured me that the creator of what's not cliche wanted me to not lose hope, and that there is still beauty, you'd take care of me if I took care of you.

Your presence on the stage is such a key part of the performance, you know that, you must. For when you disappeared behind that revolving screen to get prepared for the next great stage act, the audience shuffled and some tried to dance but mostly we were just wishing for your return. Your personality is half the reason Of Montreal is the fascinating and wonderful band that it is. And we, I, wanted you to feel that pain and ecstasy when you sang your songs and made me feel the same way.

And oh, oh, of course, it was a fantastic show and I came out with that sense of energy and desire and potential to do anything at all (and sweaty and with my bow untied and feet aching), and I loved every moment of it. But I do wish you had engaged, more. I wish when you took off those robes you looked at us with that same sadistic seduction you created last few times. That trembling sexual tension ever so apparently and mesmerizing because you knew you were the object of desire to all of us, boys and girls, eyes wide open intent and waiting. I wish I could have sensed your desire to torture us with what we couldn't have and share with us those psychotic tendencies you had when you sang about those times in your life.

I am, of course, still madly and completely in love with you. And watching you is always an experience on its own accord. But it would be even without the absurd performances and theatrics, it would be if it was just you, the band, and your songs.

love,
Laura

I keep the one I love in a freezer
But first things first. The opener was a Swedish band called Love Is All. Imagine if the Yeah Yeah Yeahs were really precious. Like maybe if the Yeah Yeah Yeahs had an 80s-ed out baby with Architecture in Helsinki. In Sweden. And it were fronted by an adorable Swedish chick who looks a lot like Khaela Maricich from The Blow. And they have a sax player who looks like what Steve Buscemi had to look like when he was in high school. Also, Sax Buscemi's favorite band is A Flock of Seagulls, so they cover "I Ran." Yeah. That was the opening band.

What do we want? Pizza! When do we want it? Pizza!
So, of Montreal has changed quite a bit since I first saw them a few years ago, pre-Hissing Fauna. Their stage show was always a fun, silly level of interesting. Some flag-waving here, some masks there. Kevin Barnes has always had pretty fabulous taste in women's clothing and make up. All in all, an aesthetically interesting experience.

But Hissing Fauna was a different, more conceptual album, and with it came a different, more conceptual stage show. All I needed to do to confirm all of my ridiculous theories about Hissing Fauna as a grand, personal narrative was see their show. Did it make sense? No. But without a lot of art-y stretches, neither did the album. It was personal and fabulous, sad and fun, all at the same time.

Skeletal Lamping makes LESS sense, but the fabulousness factor is cubed.

The stage set up featured elevated platforms on each end of the stage, with a drum set on each. Later it would become apparent that this was simply to remove them from the center of the stage where the antics would occur, but I actually liked it aesthetically: the percussion framed the performance. The center of the stage housed a two fold partition behind which set and wardrobe changes occurred. It's from behind this that Barnes emerged, carried in a gold cage by what looked like little fat, golden Yodas. The Yodas eventually removed their costumes to reveal the four performers in skin-tight body suits who would be helping with our entertainment for the evening.

Most of the tracks played were from Skeletal Lamping. The first half of the set mostly featured the band playing the songs (with James Husband and new member Ahmed manning the elevated platforms with their dueling drum sets. And synths. And guitars.) while the performers danced, acted out saloon fights, or ran around the stage. Or posed as white trash human statues with Barnes and bassist Bryan Poole manipulating them. Or whatever. Of course, all while this was happening, bizarre animation or live action video was projected onto three large screens above the stage, as well as the onto the partition on stage.

About halfway through, Barnes started being more involved in the antics. The video clip below is not the craziest part of the set, but at last night's show it was somewhat of a turning point: Barnes became a key player in what had just been silly performance art, and the Skeletal Lamping tracks started getting more theatrical. By the end of the below song, Barnes is singing and dancing in nothing but flesh colored panties - panties that will encounter paint, shaving cream, a fanny pack full of condoms and a pink fuzzy robe throughout the rest of the show. At some point, these elaborate distractions form an arc - perhaps this is the moment where we begin to see more of Barnes's alter ego, Georgie Fruit?

Yes, the first line of that song was, in fact, "I'm so sick of sucking the dick of this cruel, cruel city."

After this point, what I thought was already a ridiculously elaborate stage show got grand: the costume changes came every other song, the theatrics became more narrative. Barnes performed each song as its own story: He was a suicide victim (hanging from a noose and all), he was a centaur trying to tempt maidens away from a manipulative Pan-figure, and at one point during a wardrobe change, his performers assembled to form a giant creature, Zord-style.

So, yeah. Crazy shit.

It could be easy to make the claim that these batty, seemingly random theatrics are just arbitrary, pretentious art-y bullshit put on to seem indie or wacky. But of Montreal's show is a tricky beast. There's an odd type of sincerity to Barnes's work. Hissing Fauna was an incredibly personal account of a seemingly brutal point of Barnes life - and somehow from that he begat Georgie Fruit. Somehow, birthing a transsexual alter-ego during his marital problems made sense. So with this in mind, and the specific nature of the theatrics, you have to figure that all of this somehow makes sense - if not to the band, than at least to Barnes. He probably isn't crazy. He probably just likes making beautiful things.

There's also a sense of fun. The tracks on Skeletal Lamping are understandably a bit happier than those on Hissing Fauna, and the all-out effort put into the stage show seems to be something that everyone enjoys. And when the creatures on stage aren't depicting sad things, they're depicting beautiful things, or just dancing.

The sheer number of levels that the show engages you in is amazing. It's mind blowing to try and imagine the band coming up with this, rehearsing this, contributing to the creative process in general. The sets, the clothing, the acting - it's all elaborate and hand-picked. Add in the number of bass guitars and drum sets, and the skillfulness with which they're played. Add in the bravery it takes to rock out on stage in nothing but hot pants. Maybe I just haven't gone to enough museums, but this is perhaps the most thorough art I've ever witnessed.

The only question now is, what will they come up with next?

The trick is finding someone who is willing to guest-write a preview that does not preview anything. After all the A-through-D-listers said no, we went to the deep end of the celebrity pool. That's right: The Internet. Who was willing, and available, for this project? Check it out after the jump why don't you?

Hello everyone! It's me...you know, Tay Zonday! The famous singer? I want to thank you all for having me today. I even had time to write a special song for you!  And now I just need to ask you one question. Are you ready for me to make it rain? Are you ready for me to make it chocolate rain?!?! All right, guys. Here goes. Feel free to sing along!!!

Chocolate Rain!
Terps stay dry and others feel the pain
Chocolate Rain
A Terp is born but dies at UVA
Chocolate Rain

Bye week means they only beat themselves
Chocolate Rain
The Cavs loss makes you wonder where it went
Chocolate Rain

Build a tent and say that Ralph is safe
Chocolate Rain
Zoom the camera out and see the lie
Chocolate Rain

Take a nap before you plan for Wake
Chocolate Rain
You shat the bed at Middle Tennessee State
Chocolate Rain

Clemson was a victory for you
Chocolate Rain
But good teams have to beat the bad teams too
Chocolate Rain!

Trey Covington can't tackle his grandmama
Chocolate Rain
But Kevin Barnes will make you lose your lunch
Chocolate Rain

You have to beat Va. Tech to make a bowl
Chocolate Rain
It's sad then that the Hokies own your souls
Chocolate Rain

[Here's the chorus]
History quickly crashing through your veins
Chocolate Rain
Bye week's done and then it's back to games
Chocolate Rain

Hey, where you guys going? I've got 57 more verses. I even made a cake for this occassion. It's shaped like me -- Tay Zonday! Bet you'll never guess the flavor. Don't go! Dammit. Maybe I didn't hammer home the Chocolate Rain part hard enough. But that's good feedback...an artist must always hone his craft!  Farewell, then, mortals!   Look for my follow-up single in stores any time now.

Electro-pop borderline / USA / 2008 / Polyvinyl

Chassez le borderline, il revient au galop !

La folle équipe du groupe Of Montreal, qui comme son nom l’indique nous vient des Etats-Unis, nous propose un onzième album ! Une heure de musique en quinze titres.

Onzième album d’un genre très restreint consistant en une explosion de sons dans tous les sens, de voix suraigües, de synthé déglingué… ils vont se répéter allez-vous penser. Que neni, Kevin Barnes se surpasse une fois encore, il garde toujours le même thème – la déception amoureuse et la dépression qui suit – mais explore d’autres genres musicaux en petites touches si courtes qu’elles ne dénaturent pas l’originalité mélodique du groupe.

Les titres oscillent entre 1’’26 et 7’’12 créant une dynamique surprenante, il est courant de penser qu’un titre vient de se terminer alors qu’on en est seulement au milieu. L’exemple le plus significatif du tournant pris par le groupe est probablement atteint dès la huitième minute (Wicked Wisdom) : une longue série d’insulte dont les genres musicaux passent des cœurs sixties mielleux aux variations des australiens d’Architecture in Helsinki, en passant par du rap ou une pop acidulée… Kevin connaît ses classiques (Beattles, Flying Pickets, Beach Boys…), observe ses contemporains (Just Jack, We are from Barcelona, voire une pointe de Block Party et Franz Ferdiand), sait les parodier aussi, terminant An Eluardian Instance par un « Don’t you pimp up my heart » qui semble tout droit sorti des tubes des gangstas-rapeurs US.

Dans un monde où l’économie libérale s’entraîne à la chute libre, dans une société où l’on vous demande de rentrer dans le rang, où l’on prône la « normalité » voire la « normalitude », Kevin envoie une fois de plus un violent coup de pied dans cette fourmilière qui implose :

« …Don’t be affraid little [world] of violence, I’m only poisoning you, cause i can’t shoot you / Don’t be affraid little man of my trouble mind, I’m just poisoning you a little every day… » (Death Is Not A Parallel Move).

Of Montreal has revealed in full the art that goes along with 'Skeletal Lamping'. Seeing the artwork out in the open brings a whole new life to the concept of the record. David Barnes (Kevin's Brother) and Nina Barnes (Kevin's wife) have teamed up to give us a great deal of options on the Polyvinyl preorder. They have also started their own collective, Apollinaire Rave, which consists of David's The Bee With Wheels, and Nina's Gemintactics. Both of them make beautiful and interesting art that is very different in color pallete and form, but come together beatifully.

With "Skeletal Lamping" if  you choose to preorder the whole collection, you have the option of getting the CD package or Vinyl. I chose the CD but now i'm wondering why I didn't choose the vinyl (Guess i'll be making another order soon). The package comes with an Of Montreal lantern, 3 stickers, a set of 9 buttons, a tee shirt, tote bag, a card to download 3 song rarities, and giant Of Montreal wall decals. I think I am excited about that part the most. Nina and David's art on my wall? Rad. In the case of the tees, totes, and decals, you get the choices of choosing between Geminitactics and The Bee with Wheels design. This is beyond a hard choice but you'll have fun choosing.

Preorder "Skeletal Lamping" and all of its goodies over at Polyvinyl.
They also have 3 different colors of "Id Engager" on vinyl, as well as new Of Montreal posters. Even one designed as the shape of a horse. Sadly the posters aren't in with the preorder.

Check out the preorder pictures below

I love it when one of my favorite bands is at the top of their game. Of Montreal has been a fun band to be a fan of over the years. Their sound has changed continually and each period has produced its share of incredible songs and several masterful albums. But with this album, they’ve really outdone themselves. For my money, there are few albums are as thrilling and harrowing to listen to as this masterpiece. If anyone ever doubted it before, I think this album confirms that Kevin Barnes is a genius.

Of Montreal has always had catchy songs and wildly imaginative arrangements. And Barnes’ harmonic vocabulary is matched only by Brian Wilson’s. (If you don’t believe me, check out their chords here and see for yourself.) But with Hissing Fauna, Barnes has taken his skills to a new level. He now has complete mastery over melody, harmony, rhythm, and sound effects and is able to bend these core musical elements at will, changing the rules of music theory along the way. But more importantly, he’s using his powers to dramatize and emphasize the harrowing emotional tale that unfolds in this record. And that’s what sets this album apart from his previous efforts. As fun and insanely creative as The Gay Parade is, it lacks the emotional depth of Hissing Fauna.

I love the Kinks-like story telling of his earlier albums, but Hissing Fauna is so much more fascinating and daring because it’s about him. He’s baring his soul, both lyrically and musically. And that’s what makes this such a harrowing and thrilling listen. I don’t know the last time I heard an album that took so many risks. I’ve heard this album several dozens of times and there are moments on here that still make me almost gasp. I find myself actively worrying that he’s about to embark on something that’s not going to pay off.

Sometimes this is lyrically (and vocally), as with the album’s centerpiece, “The Past is a Grotesque Animal.” In many ways, this song sums up the whole album. The whole song is filled with seemingly clunky lines that shouldn’t scan well--some of which he repeats but sings in different ways--but somehow he makes them work, although as I said before, it’s not clear they’re going to work until he finishes singing them. Like this line, for instance:

but teach me something wonderful
crown my head crowd my head with your lilting effects
project your fears on to me I need to view them
see there's nothing to them
I promise you there's nothing to them

It’s hard to imagine being able to sing those lines in any kind of way that’s going to make sense, rhythmically or melodically. And he almost doesn’t pull it off. Until he does.

Even the song structure is daring. It’s just four chords that never change over the course of 12 minutes. And yet it never gets boring. On the contrary, it gets more intense and interesting as the song progresses.

Other times these risks are musical. The “ooohs” in the same song; when they first come in, they sound almost silly and yet they wind up adding to the song’s increasing paranoia. In the chorus of “Gronlandic Edit,” his melody twists and turns harmonically and rhythmically over the course of 46 seconds (that’s like twice as long as most “normal” choruses), punctuated by drawn out staccatoed words, and culminating in a high E that would certainly strain most people’s vocal chords. Or the chorus of “Heimdalsgate Like A Promethean Curse”: It’s hard to believe that the words “Come on chemicals!” could make for a great refrain.

Frankly there are dozens of moments that, on paper, sound like bad ideas--the “Are you deplaning?” section of “Faberge Falls for Shuggie,” or the “Is that too much to ask?” section of “Cato as a Pun”--but time and again he somehow manages to pull them off.

My only complaint is that after intense experience that is “The Past is a Grotesque Animal,” you need a breather and yet you still have five songs to go. By the time you get to the last two songs on the album, it’s hard to stay focused and I’m not sure if they’re just weaker songs or if I’m just exhausted. But that’s a small complaint. After all, what other album is so intoxicating and startling, that it leaves you exhausted?

They’re about to release their 9th album, Skeletal Lamping, in a few weeks. I’m trying not to get my hopes up, but it’s hard.

This is a cool acoustic version of  “Heimdalsgate Like A Promethean Curse.” What I find fascinating about this version is it sounds like a Bowie tune, but you’d never get that from the album version. (And I’m not saying that because they cover Bowie’s “Starman” in a similar video from the same gig.)

So let's cut the barley buck and get down to brass horse tacks, ladies and gents. Maryland plays #20 Clemson this week. Second in the ACC in scoring offense. Led by quarterback Cullen Harper, tailback C.J. Spiller, and future NFL receiver Aaron Kelly. It's a tall order for your Terps, boys and girls.  Because you see, the Terps have a pretty poor secondary.  Five defensive backs on the injury list. They've got Kevin Barnes and then who?  I ask you. Kevin Barnes and then who?  Maryland ranks 109th nationally in passing yards allowed. Eastern Michigan got 282 against them, and for one of those quarters, it was me quarterbackin' out there.  Wouldn't you know?  I'm a regular Jay Cutler.  Sure, the linebackers could help cover the receivers, but then who stops the run or pressures the QB?  The linemen? Don't make me chortle through the whiskbroom, son.

But now let me tell you another story.  The story of Maryland.  Second in the ACC in rushing.  Remember a young fella, name of Da'rel Scott, ACC's top running back?  Well, he's probable to play this week.  Clemson gives up 113.5 rush yards a game. Now, I'm a simple man, but it doesn't take an arithmetician to see that this discrepancy, plus some fearless play calls, plus the fact that Clemson seems to be trying a little too hard not to overlook you, perhaps equals a little advantage for the Terps down there in Death Valley.

Now, make no mistake. Death Valley is tough. Tougher than my old Aunt Sally. And if you knew that woman the way I did, you'd know what kinda toughness I'm talkin' about. That kind of toughness wakes you up in a cold sweat, leathery hand on your gullet, shotgun leveled between your eyes, demanding you tell it where you hid the laudanum. You're nigh on to nine corn crops old, gropin' around for your little glasses and your little diyabeetus medications.  I can still feel the warm urine as it soaks my long johns.  What a vivid flashback I'm having right now.  I can even smell it.

But you know something? Come in a little bit closer. I think the Terps are gonna pull off the upset. Just this morning I was bouncing my little granddaughter in my lap, and as I did so, my knee dislocated in the way it does only when a change is comin' on the wind.  Maryland's on a bit of a roll, and Clemson is banged up and hasn't beaten anyone good yet.  I've got a feeling here.  Call it a gut feeling. And when Wilford Brimley feels something in his gut, he sticks with it.  Got that?  Off you go then.

Prediction: Maryland 27, Clemson 24

Of Montreal will be appearing in the Nickelodeon kid's show "Yo Gabba Gabba" this year. You may have to read that sentence again. They will be one of the great bands stopping by on the show with others like MGMT and Hot Hot Heat (who were appearing this morning).  The Shins already performed earlier this year.

I would have killed for great musicial guests on my morning television shows when I was 4. Sorry Mr. Rogers, the puppets creeped me out a bit. Of Montreal will apparently be exploring dental hygeine with the toddlers, performing a song called 'Brush Brush Brush'. I wonder if Kevin will wear his short shorts and fishnets. I hope so.

Download 'Brush Brush Brush' on Zshare

Of Montreal will be contributing to an upcoming compilation made for a Nickelodeon children's program called Yo Gabba Gabba Their contribution track is an ode to brushing teeth! For an erm, "clean", crisp mp3, check out You Ain't No Picasso

Everytime I get even the slightest hint of a new Of Montreal album being released, I start to get overly excited. Of Montreal is by far the most interesting band of our time. Kevin Barnes is a creative genius and there isn't really another way to phrase it. Everything is fair game and there are no limitations when it comes to making their records. Just when you think you know what direction the band is going in, they manage to change it up a bit.

"Skeletal Lamping"  is due to be released on Polyvinyl Records on October 21st. The original release date was pushed back from October 7th because there was a problem with the printers they were using for the artwork. In any case, diehard Of Montreal fans have already had "Skeletal Lamping" for weeks. Who can wait so long to hear pure genius? Not me thats for sure. So I want to give you a glimpse inside of the new Of Montreal record. It is like entering another world.

Nonpareil of Flavor opens "Skeletal Lamping"  with a burst of energy. The piano at the beginning makes you wonder exactly what you are in for, and then suddenly you know whats going on. Apparently this song was supposed to be the last song of the record but got moved up to first place. Its a great opening for the record and starts to set the mood for whats to come. The harmonies are also incredibly smooth.

Wicked Wisdom starts with a surprising Kevin Barnes potty mouth situation that continues into an Of Montreal dance party...and its only the beginning. With classic Barnes lyrics like "Why is it that white girls don't have any ideas?" you'll be intrigued throughout. Watch for the mood change around 3:46.

For Our Elegant Caste which was originally referred to as "We Can Do It Softcore" from last year's tour has made it onto the record. I have a friend that thinks its hillarious that I like this song as much as I do. The addition of the bongos to this song is a nice surprise, and it adds to the song's incredible beat. Some of the vocal harmonies remind me a bit of something you would hear on "Satanic Panic in the Attic". This song also brings the first return on the record of Kevin's alter ego, Georgie Fruit.

Touched Something's Hollow slows the record down a notch. A beautiful song that consists only of Kevin's voice and a piano. Its a sad love song if you will.

An Eluardian Instance jumps right back into things starting off with a horn section. I cannot wait to see this song live and it is currently my favorite track on the record. Once again they start off with great harmonies and take a few twists and turns. "Do you remember, our last summer as independents?" Kevin sings several times in the middle as the harmones start to pile in. The ending that starts at 4:00 is truly a surprise.

Gallery Piece is a fun little dance song. The guitar riff is pretty infectious and so is the overall melody of the track.

Women's Studies Victims is a haunting song in every way. The little vocal effect on Kevin's voice is a nice touch. This song is also another one that changes up towards the end. It seems to get a little more upbeat in tempo. Let the party continue.

St. Exquisite's Confession is Of Montreal's attempt at Soul music. It works, it does, but it takes a bit of getting used to. I wonder what this song will be like live. The piano and guitar in the song mixed with Kevin's vocals are such a good combination. When the harmonies come in, it gets even better.

Triphallus, to Punctuate! is my second favorite song off of the album. The first line "She says we wear the party all over our bodies and faces" is only the start to this great track. When the chorus kicks in, so does the jaunty piano. Thats right, I said jaunty. There is no other way to describe it. "I supported you kid, when no one else did. You know I waved your flag, when no one else did" Kevin cries out. Is that Georgie talking to Kevin? Maybe.

And I've Seen a Blood Shadow isn't as dance oriented as most of the other tracks. The piano is featured more and one again their classic harmonies kick in midway through the song. The song ends with a high pitched scream going into.....

Plastis Wafers, which starts as an undeniable dance song. Warning though, it is kind of long clocking in at over 7 minutes long. It does manage to be an extremely interesting tune, that has many changes within it. One more intriguing than the next, oddly, all fitting together just perfectly.

Death is Not a Parallel Move I couldn't quite figure out the first time that I heard it. I'm still not 100% sure I get it at all still. The song basically starts with a beat with Kevin's voice in a chamber sounding room. It goes into a song that was trying to be 'dancable', and then 50 seconds into it, it becomes a folk song. Acoustic guitars and everything. Its just another surprise on the record. A lovely surprise.

Beware our Nubile Miscreants is another one of my favorite songs on the record. Blending infectious harmonies and dance beats that will have you dancing in your seat. This is also one of my favorite lyrical stories on the record. You have to listen to it to find out. No spoilers!

Mingusings reminds me a bit of something sort of '80s inspired' at first. This is not a bad thing. I find this song to be very distracting actually. I just have to dance to it when I hear it. I'm actually doing that right now. I'm not kidding. I love the breakdown by 1:50 that slows everything down a little only to speed it up again.

Id Engager the first single off the record starts with a Kevin shriek if you will. Another one of my favorite songs on the record. I actually wish the song was further up on the album tracklisting. "When asking why our kisses are sorrowful, remember the howl of our first verse" sings Barnes right as the harmonies start to chime in again. The song makes the album go out making us dance....just like it came in.

If I gave 'Album Ratings', which I don't like to do, "Skeletal Lamping" would get a 12 out of 10. Yes, I know thats not possible, but they get bonus points for being extraordinary. If you really liked "Hissing Fauna, Are You the Destroyer?" and "Sunlandic Twins," you will adore "Skeletal Lamping". Actually I think it is Of Montreal's best record to date. You can quote me on that.

Of Montreal is going on an extensive tour starting the beginning of October with an October 10th show in NYC (Yay!). Check out the following links below to get your Of Montreal fix.

Of Montreal on Myspace www.myspace.com/ofmontreal
Official Website www.ofmontreal.net
Preorder "Skeletal Lamping" at Polyvinyl Records

Download the first single Id Engager

So here we are, first listen... This album is a cluster-fuck of ideas and sounds that have run out of behavior medication. Some are better than others and some bewilder and confuse the listener. As an example, the first song begins with a fast-paced harpsichord and Kevin Barnes lamenting about relationships. Soon after, the song breaks down into a completely different progression and sound. Enter guitar chords big enough to fill an arena and you're in section three. A wall of sound and quarter note snare drum slams create an aural attack. They then pull out of that with a collage of sounds and kick drum hits, slowly building into a rather simple guitar riff over top of reverberated vocals which end the song. Sounds fun, right?

The album does include lots of great moments. The "Brick House" drum fill in "Wicked Wisdom", or the keyboard driven break "An Elurdian Instance". The album also has an array of interesting sexual lyrical images. The "I'm so sick of sucking a dick" opening of St. Exquisite's Confessions" really is one of the better falsetto tinged openings i've heard out of the band. 

Fans of their last album will be content, they'll even be happy in the fact that the funkier side of the band is still present. Songs from Oh, Hissing Fauna like "Labyrinthian Pomp" and "Fabrege Falls for Shuggie" would fit into the fabric that is Skeletal Lamping according to lead singer and bandleader Kevin Barnes, or must I say Georgie Fruit.

Georgie Fruit, similar to Ziggy Stardust, is the alter-ego of Kevin Barnes when he's on stage. In his recent Pitchfork interview, Barnes described Fruit:

"The character's name is Georgie Fruit, and he's in his late forties, a black man who has been through multiple sex changes. He's been a man and a woman, and then back to a man. He's been to prison a couple of times. In the 70s he was in a band called Arousal, a funk rock band sort of like the Ohio Players. Then he went through a few different phases."

Look for a Fabakis endorsed review of the album shortly before Skeletal Lamping hits shelves on October 27th. Until then check out these gig-posters!

If you're one of the very few people who read this blog and you don't know much about of Montreal, let me give you a rundown. of Montreal is an indie band from Athens lead by an insane eclectic named Kevin Barnes. In only 11 years of existence they've managed to release 8 full length albums (soon to be 9), 5 EPs and 8 Compilations. Every single album and EP sounds almost completely different, but Barnes incredibly unique voice and cryptic lyrics keep things feeling consistent. So if you like them, you'll never stop loving them.

Here are four tracks. Each track is from a different album, and each track falls into a different genre. The last track is from their newest album, "Skeletal Lamping," which will be released on October 7.

Your Magic is Working (From Satanic Panic in the Attic, 2004)

[audio http://www.mediafire.com/file/yzmztygggz6/10 Your Magic Is Working.mp3|bgcolor=#000000|leftbg=#ffffffff|slider=#00ff00]

I Was Never Young (From Sunlandic Twins, 2006)

[audio http://www.mediafire.com/file/eg6wdg4ijkn/02 I Was Never Young.mp3|bgcolor=#000000|leftbg=#ffffffff|slider=#00ff00]

Labyrinthian Pomp (From Hissing Fauna, You Are the Destroyer, 2007)

[audio http://www.mediafire.com/file/i3ejqmktzdy/10 Labyrinthian Pomp.mp3|bgcolor=#000000|leftbg=#ffffffff|slider=#00ff00]

An Eluardian Instance (From Skeletal Lamping, 2008)

[audio http://www.mediafire.com/file/z9m6iakhdzi/05 An Eluardian Instance.mp3|bgcolor=#000000|leftbg=#ffffffff|slider=#00ff00]

You may not be able to hear "Labyrinthian Pomp" by streaming it on the site because it's an m4a file, not mp3. But who cares. If you want to listen to it just download it. I personally don't think Hissing Fauna... was a worthwile album, but Hands Up! is all about choice. Listen for yourself and let us know what you think.

Lots to be proud of today if you're a Terp fan...the Byrd Stadium crowd was rocking, the team came out fired up, and the coaches had a terrific game plan. Cal had one of those classic West Coast D-lines full of huge, long-haired Polynesian guys, and the Terps found ways to get their offensive skill players around them and into space where they could make plays. Turner was rock solid today, and was kept within himself, if that makes sense. I noticed that if he messed up on a play, they came right back to the same thing or something similar. That was good. And his picture-perfect TD strike to Darrius Heyward-Bey in the third quarter was the offensive play of the game. DHB, Da'rel Scott, and Davin Meggett (87yds/2TD and 82yds/1TD, respectively) all had great games, anchored by Turner's welcome steadiness, some workmanlike tight end play, and an O-line that at times was straight dominant. Where were the guys who gassed last week in Tennessee? Not that I miss them.

The defense played great, too. They applied steady pressure and did an excellent job containing Jahvid Best -- who would have thought he'd be the third-best running back on the field today? Play of the game overall was Kevin Barnes almost knocking Best's head off (and sending him to the sidelines for a while). Check it out:

(By the way, I think that wide-screen pass play is one of the worst offensive calls in football. It's never successful, and it makes the receiver a sitting duck.)

As always, of course, there are reasons to temper the enthusiasm. There was a lot of talk and then some about Cal being jet lagged and unaccustomed to the mid-Atlantic humidity. But I think both concerns were validated. Cal came out flat, plain and simple. And the Terps' kicker, Egekeze, is probably toast. He's 0-5 on field goals over three games. They can't stay with him.

But overall, the Terps looked great. Their stars stepped up, they executed consistently, they made plays, and they withstood a late Cal run with (reasonable) poise. In a way, this win makes the Middle Tennessee game all the more frustrating. If we had brought the same focus to Murfreesboro, it would be a different narrative right now...but everyone knows that. It's a broken record lately with Maryland. It remains to be seen which of these two games will be more representative of the season.

Looking ahead, who knows what can happen this year in the ACC? It's anybody's conference and that's the truth. I'm not saying Maryland is now a top ACC contender, but who would have thought a week ago that the Nov. 15 tilt between Maryland and North Carolina might have BCS implications? There's A LOT that can happen between now and then, of course. But for just the "now" part, we're looking pretty good. No IFs, ANDs, or BUTs about it.

What you saw today was Maryland role players performing their roles.  Da'Rel Scott rolled off 26 carries for 197 yards and looked virtually unstoppable out there.  Steffy, the "game manager", kept the offense steady, going 10/18.  He did throw a couple picks, but did not have any game changing turnovers.  Darrius Heyward-Bey continued to live-up to the pro hype with 90 total yards and a touchdown, including a sweet 36-yard reception.  My boy Davin Meggett started his Terrapin career off with a solid effort that included a score.  All-around it was a solid offensive showing, especially considering this was basically a preseason game.

The defense was stout, holding a quality Delaware team to 249 total yards, and shutting them out until the fourth quarter.  Defensive back Kevin Barnes started the year off right with an interception.  The Terps kept the Blue Hens on their side of the field for most of the game and dominated at the line.

Delaware might be D-II, but as we heard repeatedly throughout the broadcast they are one of the powerhouse D-II  programs.  Delaware has played the Terps evenly throughout the history of this border state rivalry.  They are no joke, and this Terrapin team took the task seriously to produce a win.

The Terps are undefeated.  At this point, all signs point toward a winning season.  GO TERPS!

Of Montreal is a great band to be a fan of. They put out an album a year and they tour incessently. Sometimes I wonder, does Kevin Barnes ever sleep? Or merely stop writing songs? I think not. "Nonpareil of Favor" will be the leadoff track on Of Montreal's new album, which comes out on October 7th, entitled Skeletal Lamping. This track starts out really nice, gets a bit noisy for my taste halfway through and sort of stays that way throughout the rest of the song. I Don't think it will be my favourite song on the album, but who knows. I just can't wait to hear this thing in full. I'm sure it will be great because as far as I know, Kevin Barnes isn't capable of writing bad music.

Take a listen:

Of Montreal - Non Pareil of Favor

And for good measure, here's the last song on the album:

Of Montreal - Id Engager

If you find it, listen to it and if you like it, buy it. You'll have plenty of time to decide if its worth your dollars. First impressions are positive.

In post whole grain spaghetti with home made sauce fluffed with parmesian cheese + orange juice + French bread & extra virgin olive oil dipping sauce (herbed up with basil, oregano & salted up with garlic salt) basically carbohydrates love fest indulgence:

Remain in the kitchen at the one-chair table and

sip steaming-hot French-pressed Eye Opener Coffee,

heroically smoke the Maverick Light cigarette

(admire the extremely flacid rolling paper

and the antagonizingly short, cheap filter),

ensure computer speakers churn out (via Creative Zen)

Of Montreal's "The Past is a Grotesque Animal,"

and read fervently the fourth Memorable Fancy of

Blake's "Marriage of Heaven and Hell"

(notice the gain through the external)

and then the there's that view of

the tomato garden out back, where it's blue . . .

The album exists in seven different packaging formats: CD, LP, T-shirt, tote bag, button set, paper lantern, and wall decal set. Each item in the Skeletal Lamping Collection includes both the digital album and its unique packaging of the album art.

Basically, you can buy a CD or LP if you want, but you can also just by a T-shirt, tote bag, or whatever and get a digital copy of the album with it.

This sounds like a fantastic idea to me, much better than the pay-your-own-price-online paradigm. I'm going to be honest--I don't pay for a lot of music. But I can definitely see myself going out and paying for a digital copy of an album if it comes with a t-shirt. I hope this catches on.

(via Stereogum)

: : : : : : : : : : :

Hey Hey People! So Of Montreal has a new CD coming out on October 7th called Skeletal Lamping so needless to say, I am overwhelmed with excitement and well, stoked as hell.  First, Conor Oberst, now Of Montreal, who's next, The Arcade Fire? AHH! That would be too perfect. Anyway, the track, is awesome, fun and just as kooky as one might expect. Some might say it resembles their famous track, "The Party's Crashing Us", which I would agree with to an extent, but this track is different though. It's not nearly as "sing-along" as it's "cousin"; "I'd Engager" is full of twists and turns and I would say is a little more fun than the other. They mix in random sounds and stop and begin and stop again more times than usual. Ha! Kevin screams a lot, which I love. I've already listened to the song at least 10 times since I got it (Thanks Polyvinyl for leaking it!).

Oh yeah, did I mention that Kevin Barnes produced the whole thing?! Uh yeah, He's a genius.

Enough talk! Go and download it and love it and buy the CD when it drops. Click the link below for download and follow the instructions. It will be available for 100 downloads then, well, it's done.

Of Montreal - I'd Engager  ---------->        click here to download.

Later nerds,
antwan.

The first glimpse of the upcoming Of Montreal album "Skeletal Lamping" has been revealed in the form of a new single called "Id Engager". Definitely a funky affair, Id further embraces the glam rock alter ego of Kevin Barnes named Georgie Fruit. Synthesizer's fly and vocal pitch's soar in this sample track. It is hardly a masterpiece, but it shows great promise for this highly anticipated fall release.

You can score this track HERE courtesy of Stereogum.