Thinking outside the box always comes with its risks. In the music world, this could lead to new, exciting sounds and genres or it could spell death for a band. Of Montreal certainly has no interest in rehashing its previous successful efforts in its newest release, "Skeletal Lamping." The result is indie pop that sounds exciting, revolutionary and decently good.
For starters, the album was released not just on CD, vinyl and iTunes, but also as a T-Shirt, tote bag, button set, paper lantern and wall decals (the latter formats come with a free download). Even more surprising from the same band that released such delicious, single-worthy openers as "Requiem for O.M.M." and "Disconnect the Dots" is the blatant fact that the two opening songs are both over five minutes long. While this length might be standard for some bands, for an upbeat indie band like Of Montreal the two songs feel more like rock operas.
"Nonpareil of Favor" starts out like a typical Of Montreal song -- bright and catchy with a solid beat that builds up into a multi-tracked explosion of falsetto. After the first minute, however, the lyrics turn from simple ("It's like hey you were always there/ Just on the tip of my tongue/ And I needed you to happen, yeah") to downright confusing ("So I'm calling your ass up at like/ Three in the morning saying/ 'Wake up the dragon, let's go get compromised'"). Concurrently, the music turns from ... well, music to noise. If anyone was wondering just how long a band can maintain a simple, grinding beat, fading between the crash symbol, snare drum and a single keyboard chord, the answer is a precise four minutes -- the remainder of the song. Again, this is still only the first track.
"Nonpareil" is followed by "Wicked Wisdom," which takes this seemingly limitless, crazy energy and harnesses it into several distinct, bass-driven parts. The song is a very danceable medley that, though too disjointed to be played on the radio or at a party, would make for a delightful live performance. "Gallery Piece" is a similarly upbeat, steady track that leaves the listener confused as to whether to bust out a disco groove or just to start jumping around like a crazy person. Anyone who has seen Of Montreal live would probably prefer the latter.
Even more so than in the band's previous releases, it's hard to identify with or even decipher singer Kevin Barnes' lyrics -- unless you're a "black she-male" or one of the several other colorful characters he channels. Whether they are seen as brilliantly catchy or rambling nonsense depends completely on the tone of the song: When delivered with his usual effortless high-volume wail, Barnes can pull off lines like "I feel like an accidental species/ Some mutant love-child, never meant to be." But without a driving beat and several other instruments to keep the song afloat, the lyrics can't stand up on their own.
To the band's credit, the vast majority of songs have at least a part or chorus that falls into the former category, with the last track, "Id Engager," just as bright and uplifting as any other.
The one all-out "slow song," "Touched Something's Hollow," is only a minute-and-a-half long and is abruptly interrupted by the bright, horn-led "An Eluardian Instance." Evidently, Barnes recognizes his own strengths.
Many songs deal with themes of lust, love and sex in a way that can be shocking and often quite funny. By far the most danceable song is "For Our Elegant Caste," which opens with the refrain: "We can do it soft-core if you want/ But you should know I take it both ways." A first time listener will immediately be sucked into the contagious beat before realizing the song's racy subject matter. But those that recognize Barnes' frequent channeling of Prince's voice shouldn't be quick to deride the lyrics for their lack of sense.
Ultimately, the frequent tone changes and shattering of conventions in an otherwise mainstream-ready sound make for an enjoyable listen for long-time fans or those who like experimental music. New listeners would be far better off starting with the seamless "The Sunlandic Twins" (2005). But if this insane, disjointed, brilliant medley of noise sounds appealing on your iPod, just wait until the band stops by the Orpheum Theatre on Thursday night for what promises to be a truly mind-blowing experience.
