By Abby Watkins
News Editor
It’s hard to think of another band with as diverse a discography as that of indie group Of Montreal. Since their first album in 1997, the band has tackled genres from lo-fi to synthpop to funk, creating a distinct, instantly recognizable sound.
Their latest album, “False Priest” (released on Sept. 14 on Polyvinyl Records) will be sure to live up to expectations.
As the brainchild of frequent Elephant Six collective collaborator Kevin Barnes, Of Montreal quickly drew away from its indie-pop roots and became a vehicle for its frontman to explore different styles and personal issues.
Though their first “mainstream” effort was the 2004 album “Satanic Panic in the Attic,” Of Montreal came to widespread attention with 2007 album “Hissing Fauna, Are You the Destroyer?,” that chronicled Barnes’s clinical depression through a collection of synth-heavy pop songs.
“False Priest” sees a return to the organic orchestration that was absent from the band’s last several albums. This, in combination with the heightened production values from Jon Brion, allowed each track to have a fuller, more vibrant sound. Songs with intricate melodies, such as “Like a Tourist,” are immediately illuminated by the full scope of their detail. New elements of the tune become apparent with each listen.
The album contains a number of collaborations, which is a first for Of Montreal. “Enemy Gene,” by far the best song on the album, features popular soul singer Janelle Monáe. Her previous experience with Barnes is obvious from the quality of the track; their voices blend together effortlessly to create a surprisingly thoughtful dance tune. “Sex Karma,” featuring Solange Knowles, is more upbeat and immediately accessible than “Enemy Gene,” but doesn’t hold up to repeated scrutiny, as its tune is somewhat pedestrian.
In the rare moments where “False Priest” fails instrumentally, Barnes’ comparative lyrical skills shine through. The spoken word sections of “Our Riotous Defects” don’t sustain its grating chorus. “You Do Mutilate?” which had all the makings of a true f Montreal classic, falls completely flat due to a pointless digression into a didactic musing on tolerance in the second half.
“False Priest” is best when Barnes plays to his strengths. “Godly Intersex” combines funk beats with a catchy hook and unexpected chord changes to embody the strange pop spirit that is central to of Montreal’s work. “I Feel Ya’ Strutter” avoids over-thinking the lyrics and instead delivers a simple story wrapped in a deceptively complicated tune.
On one level, the album loses some of the nuance and charm that made Of Montreal so appealing in the first place. But in other ways, “False Priest” is really the culmination of everything that Barnes has been stylistically moving toward since abandoning his signature vaudeville concept pieces in the mid-2000s. Ultimately, “False Priest” will not only satisfy current fans, but appeal to listeners not already familiar with Of Montreal’s work.
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