Album Review: Aureate Gloom by of Montreal

Of Montreal have finally come up with an album title that perfectly describes the group and their music. The title, Aureate Gloom could almost be a new name for the genre of glam funk with sad lyrics that the band have become known for. And, of course, this album totally fits the bill.

Aureate Gloom picks up where Lousy With Sylvianbriar left off, if we can assume that the latter was created with 1969 in mind and now of Montreal are ready to delve into the early seventies. It's also an obvious successor if we can assume that the mild depression of Sylvianbriar transformed into the complete emotional turmoil of Auriate Gloom.

"Bassem Sabry," named for an Egyptian civil rights activist, is described as the only non-autobiographical song on the album, although it features Kevin Barnes' usual eloquence and the line "I just watched my hero fail//now I'm in a dark and violent funk." Incidentally, the word "funk" also describes some of the sounds on the track, along with drums playing a starring role in the beginning.

Next up, "Last Rites at the Jane Hotel" paints a dark portrait of a couple (or former couple) plagued with infidelity and self-interest. The busy sound is a distant cousin of "Belle Glade Missionaries." "Empyrean Abattoir" is a much more simplistic, yet discoteche-worthy tune with a great deal of bitterness wrapped up in it. It has been suggested that "Empyrean Abattoir" is about Rebecca Cash leaving the band, which seems entirely possible, although it's also as great a break-up song as "Last Rites," even if they represent slightly different outlooks. It's worth noting that many of the tracks on this album deal with bitter separations, perhaps courtesy of the fact that Barnes has parted ways with many band members including not only miss Cash, but longer-standing members of the band, and his wife of eleven years, all fairly recently.

Barnes writes about his separation from his wife on "Virgilian Lots," a dark track with personal and self-searching lyrics. Although most of the sixties sounds from early albums and Sylvianbriar are gone, and it's probably been a while since anyone compared the band to The Kinks, "Apollyon Of Blue Room" definitely brings to mind "You Really Got Me" in places.

One of my favorite pieces of lyricism on the album comes from "Estocadas"; "Your shifty friend gave you a cactus for a gift[...]//Such a stupid offering what's it meant to symbolize//hostile immobility, is that something to prize?"

"Like Ashoka's Inferno Of Memory" is home of a strange, new influence for the band in the form of a sound very similar to Led Zeppelin's "Immigrant Song."  The concept of separation from his wife in "Virgilian Lots" returns for "Memory," poignantly when Barnes references the poem "Having a Coke With You," an ode to how great boring things are with the one you love, as a memory.

Aureate Gloom is very much an of Montreal record. If Sylvianbriar can be removed from the equation, it's definitely the best album since Hissing Fauna, Are You the Destroyer? It's a different direction from Sylvianbriar. Of Montreal albums can certainly be perceived as moods, so it's almost like another mood. Barnes continues to write personal and thoughtful lyrics ripe with cultural references and complex eloquence. While I can't say it's the band's best work, it's definitely worth a listen. 

of Montreal is the brain child of Kevin Barnes of Atlanta, Georgia.

Aureate Gloom can be purchased here. 

Album Review: Lousy With Sylvianbriar by of Montreal

The last couple of albums of Montreal released didn't seem to be on the same level as either their early work, or Hissing Fauna, Are You the Destroyer?. But from the very first preview of "Fugitive Air," it became clear that Lousy With Sylvianbriar was going to be a good album (or a bad album with a really good track on it). Fortunately, not only did the rest of the album live up to "Fugitive Air," but sometimes surpassed it, and the album art makes it totally possible to judge an album by its cover.

Lousy With Sylvianbriar actually kicks off with "Fugitive Air," a mostly-retro, low-fi song. "Fugitive Air" contains a line I can only assume to be a reference (or misheard lyric) to "Abraham, Martin and John" by Dion: "Has anybody here seen my orphan blonde?" But more importantly, "Fugitive Air" brings to mind early of Montreal tracks, but with the twist of all the musical elements they've explored since then, and a much "harder" 60s rock feel than they ever explored before. 

From there, the album moves on to "Obsidian Currents," which gives up the harder sound for some pedal steel and a floating feel. Certain elements of "Obsidian Currents" feel like they come straight off of George Harrison's self-titled album (although that's surely not the influence). One of the strongest tracks on the album, "Belle Glade Missionaries" is next, with a distinctly 60s country feel. Kevin Barnes said he was very inspired by 50s and 60s country music on this album, and you can hear it in the loveliest of ways.

"Sirens of Your Toxic Spirit" is another standout track, with a slower tempo and gorgeous harmonies. The following track, "Colossus" has a monotonous feel, that Barnes seems to use at times to express a feeling of stagnation. 

The album takes a clear stance of mental unrest on "Triumph of Disintegration," which begins by declaring "The last ten days have been a mother****er," and goes on to say  "I had to make myself a monster just to feel something//ugly enough to be true." Along with the lyrics on the subject of depression, which Barnes has been working on and perfecting for years, there's great guitar and a use of tambourine that hasn't properly been explored by any band in years. "Triumph of Disintegration" gives way to "Amphibian Days," which bridges the gap between monotony and carefully crafted beauty. 

The instrumental rock gets a little harder for "She Ain't Speakin' Now" and the very 60s, Bob Dylan-esque "Hegira Émigré," which is easily one of the highlights of the album. "Raindrop in My Skull" features beautiful lead vocals by Rebecca Cash as well as more slide guitar and tambourine. It's interesting the way Cash manages to perfectly echo and compliment the voice of Barnes. 

The album closes on "Imbecile Rages," a track which begins with a hard-rock feel, but wavers between gentle lyricism and angry sounds. "Imbecile Rages" perfectly wraps up the album, in terms of both sound and overall feel. 

Lousy With Sylvianbriar does a terrific job of both maintaining a homogeneous sound, and not being boring, of sounding old and new, and of sounding like a concept album at both the start and finish, but not really seeming as though it's trying to be a concept album. Luckily, of Montreal have gotten their groove back, and it would be a mistake to miss out on it.

of Montreal are a rock band from Atlanta, Georgia.

Lousy With Sylvianbriar is out today and can be purchased here.

Concert Review: Of Montreal in Cleveland, OH

Seldom have I seen a crowd so geared up for the performance they are awaiting as the audience at the Beachland Ballroom on Thursday.

Kishi Bashi took the stage alone at around 8:30, and began to play a set that instantly entranced the crowd. Bashi used his violin and live samples to play some of the most incredible and musically sound pieces I've heard live in a long time. His mastery of both pizzicato and conventional violin bowing were incredible to hear and observe visually.

Kishi Bashi

Kishi Bashi surrendered the stage to Loney Dear, a Swedish duo that were received with much less enthusiasm. 

Loney Dear

Loney Dear put on a reasonably good set, but the crowd was too energized for their soft, calm songs. It didn't help that, after Kishi Bashi, their music seemed a lot less impressive.

There was a long wait in between Loney Dear and Of Montreal. Lots of light adjustments happened, each time stirring the crowd into a frenzy. When the band finally took the stage, they launched instantly into an almost non-stop set of songs from their last four albums. Each song seemed to bring a new level of excitement to the crowd. 

The set was lively and energetic and just loud enough not to be too loud. The crowd danced and sang along to every song. The band ended their set and it was almost immediately clear that there would be an encore. Two people dressed as pigs returned to the stage and welcomed the band back out after a few minutes. Of Montreal then launched into a ton of songs, one right after the other, mostly from Hissing Fauna, Are You the Destroyer? and Skeletal Lamping.

There was not a lot of talking or pausing during the band's set or encore set, it was mainly just song after glorious song.

After the show, as we headed back to our vehicle, we noticed that lead singer Kevin Barnes was surrounded by a small crowd at the exit door. He was very sweet about signing things for people and taking pictures with fans.

Seeing Of Montreal isn't just a good show, it's a great experience.