Ofmontreal


Of Montreal

Hissing Fauna, Are You The Destroyer? (Polyvinyl)

Maybe after lending the song “Wraith Pinned to the Mist (and Other Games)” to Outback Steakhouse’s campaign to sell steaks to hipsters, Of Montreal had enough flow to buy a stack of keyboards, synths, and sequencers tall enough to make Keith Emerson giggle. That could explain the band’s flaunting of electronica on Hissing Fauna, Are You the Destroyer?

And, hey, let’s thank whatever inspired the group’s minor sonic adjustment. With the electronic trimmings on Hissing Fauna, bandleader Kevin Barnes found a fitting, new milieu for his charmingly outcast persona and — more often than not on this album — distinct knack for melody. Believe it or not, chorus pads and saw waves make brilliant replacements for the acoustic horns and guitars of earlier albums.

Speaking of guitars, there’s nary one to be heard on Hissing Fauna, save for a couple tracks; one of which is the surprisingly rocking opener “Suffer For Fashion,” a high-energy romp reminiscent of early Attractions straight up to the carnival-esque organ. Elsewhere, “A Sentence of Sorts In Kongsvinger” betrays Barnes’s apparent Scandinavian kick, not just in the incidental song titles, but musically too; “Kongsvinger” and “Heimdalsgate Like a Promethean Curse” bounce like the best Euro-pop — who knew Barnes aspired to Annie as much as he did Jonathan Richman?

But, don’t fret, the mechanical touch of the arrangements rarely abandons the warmth of classic Of Montreal and there are only a couple duds here. The biggest offender is the 12-minute “The Past Is a Grotesque Animal,” in which an angry Barnes spits and curses old loves over a sinister but bland, looping chord pattern. Otherwise, the singer’s coy sense of humor is still intact, from the wry condemnation of a shallow groupie on “Bunny Ain’t No Kind of Rider” to the mock-Prince falsetto on “Faberge Falls for Shuggie.”

Maybe the best part of Hissing Fauna is that the band feels like it’s having a blast with the new songs and new sounds. If the record isn’t visionary enough to inspire hundreds to start bands, as early Of Montreal has, perhaps it will remind those who have bands why it’s necessary to make fun records again. 




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