The Dears, Of Montreal

No witty title; just the names of the bands SteveK is reviewing this week.

Of Montreal: Skeletal Lamping

Eleven years and nine albums later, I’m still not entirely sure how to define the music of Of Montreal. Calling them Indie Rock unnecessarily pigeon-holes them into that hipster trend-junkie musical category of all the non-generic music out there. I can’t call them techno-pop either, because they don’t seem to take themselves as seriously as most of those guys. I’m reminded of the music of Queen for the vocals and harmonies, but they’re far too non-linear for anything that remotely resembles the late Freddie Mercury’s gig.

It was 2007′s ‘Hissing Fauna, Are You The Destroyer?’ that is generally recognized as their breakout album, despite coming ten years after dropping their first album. Of Montreal is obviously a band that’s having fun, but it cannot be denied that there’s a certain amount of artistic pretention to their music. To be sure, their pedigree from the Warholesque musical collective of the Elephant 6 Recording Company back in the 1990s has its part to play in that.

‘Skeletal Lamping’, album number 9 from Of Montreal is a whimsical, carefree, bizarre, discordant and eclectic album, marred only by the pretensions of singer/songwriter/record producer Kevin Barnes’ explanation of the record title: “This record is my attempt to bring all of my puzzling, contradicting, disturbing, humorous…fantasies, ruminations and observations to the surface, so that I can better dissect and understand their reason for being in my head.”

Now, I do prefer music that can sweep me away instead of leaving me bemused and curious. I also prefer music that is stimulating, original and highly entertaining. As much as ‘Skeletal Lamping’ is not the former, it is indeed the latter.

The music is highly complex and evolved, with multiple changes in tempo and rhythm. The songs on ‘Skeletal Lamping’ exploit these changes to create seamless flow from one song to the next. The multiple variation and discordancies blend to create an ethereal, surreal album that, when taken as a whole is quite entertaining, if not entirely my cup of tea.

Of Montreal: Skeletal Lamping
Polyvinyl
Steve’s Rating: 8/10

The Dears: Missiles

Normally when I review a new album, I try to listen to it at least twice, usually three or four times before I sit down to write my review. I usually try to do that, anyway. Sometimes, however, an album comes along that once I’ve listened to it that first time I just can’t bear to listen to it again.

Such is the case with Montreal’s native “Dark Pop” act, The Dears. Their fourth album, ‘Missiles’ is just so damn morose and overblown in the melancholy that they sound like Joy Division on horse tranquilizers. The 10 tracks on this one are too long, too bland and too depressing. It doesn’t help that lead singer Murray Lightburn sings in a flat, unenthusiastic and toneless baritone, and the constantly grimmer than grim lyrics makes Morrissey look like a flaky optimist.

This album annoyed me so much, in fact, that I can’t think of anything about this one that I like, and I really have to reach to find anything good to say about it, but here goes: if you’re a suicidal Emo looking for an album to sap the last vestiges of your will to live, this is probably right up your alley. Everyone else should probably give ‘Missiles’ a pass.

The Dears: Missiles
Dangerbird
Steve’s Rating: 4/10

To discuss this review or share your own, join the CONFRONT Community