Deception and camouflage color this mini-album, a batch of five songs where of Montreal manages to shroud its normal sound for that of its influences. “Flunk Sass vs the Root Plume” is straight out of David Bowie’s Ziggy Stardust period, “Holiday Call” falls into A. R. Rahman territory when it stretches on for five minutes in a a trippy Bollywood synth jam, and “Black Lion Massacre” is as frightening as it sounds, as the band forgoes its pop sensibilities for haunting techno noise with creepy robot narration. Of Montreal doesn’t actually sound like itself until “L’age D’or,” a great bouncy tune that would not be out of place in the same Harlem house clubs that inspired Madonna’s “Vogue.” Kevin Barnes croons “she’s just my party drug” in a falsetto that makes Ke$ha sound tame. Nothing here is must-hear, but true fans will enjoy sorting through of Montreal’s influences and musical thought process as they prepare for the next full album.
Wednesday, April 6, 2011
of Montreal - thecontrollersphere
Deception and camouflage color this mini-album, a batch of five songs where of Montreal manages to shroud its normal sound for that of its influences. “Flunk Sass vs the Root Plume” is straight out of David Bowie’s Ziggy Stardust period, “Holiday Call” falls into A. R. Rahman territory when it stretches on for five minutes in a a trippy Bollywood synth jam, and “Black Lion Massacre” is as frightening as it sounds, as the band forgoes its pop sensibilities for haunting techno noise with creepy robot narration. Of Montreal doesn’t actually sound like itself until “L’age D’or,” a great bouncy tune that would not be out of place in the same Harlem house clubs that inspired Madonna’s “Vogue.” Kevin Barnes croons “she’s just my party drug” in a falsetto that makes Ke$ha sound tame. Nothing here is must-hear, but true fans will enjoy sorting through of Montreal’s influences and musical thought process as they prepare for the next full album.
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