Now, not many people like Synth-Upbeat-Indie-Pop bands. It certainly isn't really in the mainstream - nor has it ever been, or probably ever will be. But Of Montreal is something that transcends genres. Not in the ways people usually associate with the genre, but because they make people forget. Forgot about worries, be able to work, focus on things, make you feel relaxed and normal.
As one of the latecomers to the Elephant 6 collective, - Indeed, barely considered one, though they are on the label and are from Athens, GA - Of Montreal is a very different story from most of those bands dreamy soft strummed pop. Not to say they're bad, but just different. They started out with Kevin Barnes and his band and the Cherry Peel album, full of poppish delight that wouldn't be out of place on a Beach Boys or Beatles album. The way Kevin Barnes' voice wraps around you, comforting you, shows an almost Beatlesque (to use an overrused word) vocal performance. After many more albums, including the absolutely brilliant
The Gay Parade, and a collection of "singles and songles", in 2004
Satanic Panic in the Attic was created and released. It showed a new side of Of Montreal. The use of guitars, firm, bouncy basslines with synth drums and various sounds mixed with the soft, upbeat voice of Barnes was perfectly fantastic! Particularly with the song "Disconnect the Dots", Barnes had perfected his trade. Apparently, his band had been on leave, so he created the band basically by himself, noting the addition of synth.
Indie Pop has never been better then when put together with clever riffs and bouncy basslines and synthesizer drum things. Which is why with a year to practice,
The Sunlandic Twins shows a formula that works so well together that you can just get lost while listening to it - Indeed, I can barely write this while listening to the album myself.
With no further ado, my song-by song analysis.
Requiem for the O.M.M.2: 4.5
A fantastic opener that shows why their sound works. The bassline and synthesizer carry this track up, while the riffs that punctuate the track blend with Barnes' voice, to create a mellow track that drifts into the more powerful chorus. The chorus has a yearning Kevin thinking about someone he loved a long time ago, and forcing himself to let go. It contains the beautiful line, "I don't need a photograph, cause you never left my mind..."
I Was Never Young: 5
Starting with a nonsensical ramble, it soon jumps into a bass-led melody, then into the unforgettable melody, the guitar licking a melody, and then the guitar answering it with a corresponding one. The vocals in this line are fantastic, with a call-and-response. Barnes on this end, falsetto-Barnes on this end. Then the horns start playing the melody again. Then back into the chorus, into a reiteration of the song, and then a quick boom-boom-boom-boom synthesizer entrance to the next song:
Wraith Pinned to the Mist and Other Games: 4.25
"let's pretend we don't exist, let's pretend we're in an article..." The dance track has a very feminine-sounding Barnes over a ascending-descending bassline. It's a bit repetitive, but still keeps the standard high.
Forecast Fascist Future: 4.38
Who thought of these titles? Anyway, this has an incessantly happy electric guitar. It also has cowbell! And he also keeps asking "Why?! Why?!" "May we never go-go, mental, May we always stay-stay, gentle". All in all a very self-questioning track. A lot of big words too.
So Goes Our Alabee:4.12
Most 80s track here, but because of the detached, delayed vocals, there's still that twist of Montreal. Still led by the infuriously catchy bassline.
Our Spring is Sweet Not Fleeting/Knight Rider: 4.05/3.89
An Instrumental Interlude, provides interesting Architecture in Helsinki-ish sounds.
The Party's Crashing Us: 4.5
I just love this track. Don't know why. It's very Of Montreal.
I Was a Landscape in Your Dream: 4.2
Postal Service-y, but with a bit of harmonics, too. Pretty interesting vocal and lyrics.
Death of a Shade of a Hue: 3.5
A bit of a lowpoint in the album, with orchestration and Barnes singing. A bit slow compared to the rest, but not ear-rippingly-bad, thankfully.
Oslo in the Summertime: 4.6
Suprisingly, a snoring sound wakes the album back up from the sleepy parts. Basically telling a story of Norway in July. But with a lot of pah-pah-pah-pah-pah-pahs.
October is Eternal: 4.5
A gorgeous piano instrumental finishing with some operatic "AHHHHHs".
The Repudiated Immortals: 4.3
A shuffling piano-drums-bass slow track to finish off. Ends with a great everyone together vocal that's half-falsetto/half normal.
I love this album.
