Posted 02/07/07

Of Montreal
Hissing Fauna, Are You The Destroyer?

Patrick Smith | contributing writer
psmith4@smcvt.edu

Of Montreal was formed as Kevin Barnes retreated from a failed relationship and moved to Athens, Georgia, and proceeded to work with the new generation of the Elephant Six Collective of indie bands. So it makes sense that someone who formed his band out of the misery of romance would create a new album for that project when he found himself in the midst of separation from his wife. Fortunately for us, we are familiar enough with schadenfreude to stop worrying about the artist behind it, and just enjoy what we are given.

Although it is a band, with some members coming and going, Of Montreal has always been Kevin Barnes’ project, and is becoming increasingly so. With this release, it becomes clear that Of Montreal goes where he wants it to go, and does what he wants it to do. The lyrics are his, and they are at times frighteningly personal. “I spent the winter/on the verge of a total breakdown/while living in Norway.” The album tells his story, his pain, and his strange, strange turn away from it.

Even during a casual listen, Hissing Fauna is clearly an album in the sense that it benefits from looking at it in its entirety instead of as collection of songs. There is an arc to it, it tells a story, both with the style of the music and lyrically. It works itself towards a drastic change, and creates two halves to the album. This set up helps keep it from falling into the classically dreadful trap of a strong opening, a number of songs no one will notice, and then a strong song or two to finish. This album has no room for that, and in fact, there aren’t any weak points. The center may be its strongest point, or its end, or maybe its beginning, but the middle is seriously good.

With the first few songs, it is easy to fall into the safe harbor of the previous album, incredibly catchy and danceable music. It seems like fun and a solid good time, but if you dare to pause for a second, the lyrics will catch you. Just as you are enjoying “ Heimdalsgate Like A Promethean Curse” with a smile on your face, Barnes is singing “Chemicals don’t flatten my mind/Chemicals don’t mess me up this time.” Whether he is singing about drugs, or maybe medication, there is no way to deny the haunting nature of those lyrics, no matter how happy he seems singing them. The last song that could still fit somewhere in with The Sunlandic Twins is “A Sentence of Sorts in Kongsvinger.” It tells the story of his loneliness, and pain in Norway, where the album was mostly recorded. In the midst of its musical playfulness, it hints at what is to come when Barnes tells us he is “trying to restructure his character.”

And then we reach the middle, where we can’t rely on past Of Montreal to tell us where this is going. “The Past is A Grotesque Animal” is the turning point, the longest song, the most important, and maybe the best. It opens with a quick, unrelenting beat. When the vocals begin, it isn’t the style we are used to, no falsetto, no swinging of the tone along with the music. His vocals are just as intense as the beat, and almost as fast. The dancing stops, and now we have to listen to what he has to say, and most likely be upset by it. His unflinching voice makes the lyrics carry more weight then if he applied emotion to them. The most he does is allow a heightened level of the intensity that is already forcing this song along. He comes close to yelling, but control is the key here. There is no chorus, nothing is repeated, he just keeps on coming. Whenever a song is as personal as this, it comes dangerously close to cliché, but Barnes skirts this line masterfully.

After this, the restructuring alluded to before has taken over. The next song uses up all that remains of the Sunlandic Twins Of Montreal, with this new one backing it up. When “Faberge Falls For Shuggie” takes over, its something completely new, and instantly compelling. No more light, fun, pop. Instead Kevin Barns has taken on what seems to be a psychedelic, glam rock persona. He is strutting his stuff, showing off falsettos more at home in excessive rock costumes than underneath a disco ball. The electronica becomes second to more recognizable drums and guitar. Finally, for Of Montreal, disco may be dead. “She’s a Rejector” has a few actual riffs, and a chorus, and real guitars, clearly heard, and they sound good. That isn’t to say nothing weird is going on, after all, it starts to resemble the Flaming Lips more than anything.

Hissing Fauna, Are You The Destroyer ends just as strongly as it began, but in a completely different, and unexpected manner. It is a complete album, with some songs standing out more than others, but none that are forgettable. While it is dismissive to label his previous work simple, this makes it seem that way. It is a fun listen, but there is so much going on, it would be unfortunate if that’s all you take away. Dance if you want to, but if that’s all you want, be afraid of looking too closely.