Photo by: hoffsarah.blogspot.com
Of Montreal, the brainchild of Ohio native Kevin Barnes, has forged major artistic ground on its eleventh album, Paralytic Stalks, departing from the pop song format, funk influence and erotic content that has become synonymous with the band.
The first track, “Gelid Ascent,” begins with a bang and some of the disquieting ambiance that becomes familiar over the course of the album. This psychedelic “Baba O’Reilly” recalls the dark, bitter love songs Kevin Barnes is known for, with Barnes at one point venting: “You are what parasites evolve from.”
The first of eight smooth transitions joins “Gelid” with “Spiteful Intervention.” This song goes back to some of Barnes’ trademark white-boy funk, but it seems he is concentrating on the lyrics to a point that the music itself suffers. At this point, it’s unclear whether the album is experimental out of laziness or invention.
“Dour Percentage” is the closest thing to a recognizable Of Montreal song on the album, including familiar falsetto production tricks as well as the strongest chorus in this hour-long set.
“We Will Commit Wolf Murder” is a consciously psychopathic love song that fits in with the unhealthy themes found elsewhere on Paralytic Stalks. The track goes club towards the end before another sharp transition leaves Barnes screaming: “There’s blood in my hair!” repeatedly.
Shortly afterward the band revisits its 2007 masterpiece Hissing Fauna, Are You the Destroyer? with “Ye, Renew the Plaintiff.” The lyrics are almost comically self-deprecating, but Barnes fails to shock like he used to with his anguished wordplays. The song is over eight minutes long, serving as a reminder that the last three songs are almost half an hour in length.
Throughout the course of this album, Barnes seems desperate to sound like the classic tortured poet and yet in his desperation he succeeds. This is no more apparent than on the 13-minute “Authentic Pyrrhic Transition.”
The first section is the sunniest moment on the album yet, but it transitions through dark, orchestral and high-tension soundtrack sections, and is a clear example of the narrative songwriting style prominent in Paralytic Stalks.
“Exorcismic Breeding Knife” makes for a fittingly atmospheric end to this highly experimental album.
Each song on Paralytic Stalks functions as a distinctive, unique chapter, and the album is truly a journey. Giving it your full attention requires patience, but this true artistic statement can prove to be rewarding.
