|
At first they were very twee. Then they were disco-punk, sort of. And now they are one. Kevin Barnes, this enigmatic band's prolific singer-songwriter, wrote and recorded much of this album alone, though he did enlist the help of a few friends (Alabee Blonde, the Late B.P. Helium and Heather McIntosh). Programmed handclaps, looped semi-funky bass and synth washes are the main ingredient on the Athens-based dude's Hissing Fauna, Are You The Destroyer?. Thankfully, he's still intent on mixing and matching disparate genres at whim, throwing Beach Boys' harmonies atop songs that sound more than a little like a Bowie-Eno collaboration. Lyrically, these might be the most personal songs Barnes has written. Sonically it's solid, but not as fully realized as the band's prior albums. As with any "growing pains" record, Destroyer might not make many new fans, but old ones will be pleased. The real breakthrough number, the song that hopefully hints at the band's next direction, is the twelve minute "Past Is a Grotesque Animal," a lovely and percolating New Wave motorik number that recalls the neon splendor of La Dusseldorf while referencing Georges Bataille. It's really good, and makes the listener fondly yearn for one's college days. --Mike McGonigal Amazon.co.uk Review
Depressing Disco: A modern classic
An endlessly imaginative indie band that knows how to make people dance makes a disco-pop album which is thoroughly depressing: of Montreal's astonishing 'Hissing Fauna, Are You The Destroyer?' delivers on all fronts. Wildly creative and original, especially for a band's eighth (!) album, this saw frontman Kevin Barnes write and record most of the record himself, turning it into an outlet for the personal demons tearing him apart. But while the lyrics are bleak, there's not a dirge to be seen. 'A Sentence Of Sorts In Kongsvinger' begins with an infectious ice-cream-van synth riff, only to deliver the sucker punch of, "I spent the winter on the verge of a nervous breakdown whilst living in Norway." And the second half of the album, which sees him transform into his latest alter-ego, 40-year-old black transsexual Georgie Fruit, adds an even weirder dimension to the catharsis. Immediately loveable yet rewarding on multiple levels, this album takes pains to stand out in every possible way.
Mike Mantin, 2009-11-23A more mature Of Montreal, but still retaining their Vaudeville charm
This comes as something as a surprise. I've been loving and loathing Of Montreal on and off for a while now, but then they go and do something like this and it throws me off completely. The whimsy is toned down considerably, bar `Heimdalsgate Like A Promethean Curse', which uses the best bits of 2005's The Sunlandic Twins, but it's all a long way from songs like, `Let's Do Everything For The First Time Forever'. And what's Of Montreal without all of the silliness? Well `The Past Is A Grotesque Animal'is a good place to start, a twelve minute masterpiece with minimal changes of direction, which I would have to say sounds a little dull written down like that, especially given that changes of structure is what makes Of Montreal so likable/hateable in the first place. But like the equally epic LCD Soundsystem `All My Friends' track, Kevin Barnes uses the repetitive beats to deliver his most personal lyrics yet in his most straight-faced (albeit somewhat tongue-in-cheek) manner. Although the grandeur of that track seems to dominate the album (how could it not given the length), the other songs also show a development in songwriting for Barnes and Of Montreal, the Vaudeville charm is still there, but I get the sense that it's slowly beginning to crumble and reveal a band who are finally so comfortable with one another, that the songs have become mini-stories in their own right. Take both `Bunny Ain't No Kind of Rider' and `She's a Rejector' - every change of pace reflects the shifting tone of Barnes's storytelling lyrics, further heightening their evocative nature and providing the perfect setting in which such actions can take place.
Highlights: Suffer For Fashion, The Past is a Grotesque Animal, Bunny Ain't No Kind of Rider
I saved my 1st review for this.
This is one of the most enjoyable albums i've heard in ages. It's clever, melodic and i dare say that the final track, which i could listen to on loop for hours, is just incredably well crafted. People will be coming back to this album in years to come - Classic.
L. A. Wiley, 2008-01-12OF MONTREAL 'Hissing Fauna' Review (8/10)
`Hissing Fauna, Are You The Destroyer' is the 8th album by `Of Montreal' i.e. Kevin Barnes, who is responsible for this remarkable one-man operation. This concept album, released whilst Barnes was on anti-depressants, was developed with assistance from friends and family including James Huggins, (the Late B.P. Helium), Nina Twin (Barnes' wife), Heather McIntosh, Georgie Fruit (a glam rock alter-ego of Barnes), and Alabee Blonde (Barnes' daughter). The stunning packaging and art-work which adorns the album (and all `Of Montreal' releases) is the work of Barnes brother, David Barnes.
`Hissing Fauna.....' is an album of two parts with the meandering 12min dark-electro pop epic, `The Past Is a Grotesque Animal' being the transformation were Barnes marks his change into Georgie Fruit. The albums first part was developed by Barnes after spending time alone in Norway in which he went through an intense depression. Instead of channelling this into his music, Barnes "tried to uplift (his) life with sound" and this is plain to see in the unfettered pomp and swagger which forms the backbone of the album.
As with previous releases, `Of Montreal' cover an impressive spectrum of styles, moods and genres, both instrumentally and vocally. These range from the high-tempo sixties influenced rollercoaster of the opener `Suffer for Fashion', the subtle Scandinavian-IDM influence of `Cato as a Pun' right through to the neo-funk grooves and falsetto vocals of `Gronlandic Edit'. Elsewhere, listeners are treated to the refreshing anti-scenester stance of `Bunny Ain't No Kind of Rider' and the brilliantly arranged and unhinged jazz-funk of `Faberge Falls For Shuggie' which is brimming with a Prince-esque sexual swagger, a theme that is continued into the appropriately titled follow-up `Labyrinthian Pomp'. What `Of Montreal' do so brilliantly is that they interlace a wide range of styles and influences into one track with unrestricted ease, rapidly covering territories as diverse as 80's synth pop, 60's acid rock, 00's indie-punk and 70's funk. In addition to the diverse instrumental tapestry, Barnes lays his heart on the line throughout the album, addressing personal issues such as family, self-improvement, love, belonging and religion.
As with previous releases, tracks are not separated and thus crash into each other to create a wonderful sense of continuity and therefore, give the impression of immediate `switches'. `Hissing Fauna...' is a multi-dimensional and skilfully arranged piece of art that is brimming to the rim with ideas. Furthermore, it is lavishly produced and the continuous interlacing of styles injects longevity which makes this an album that will sound different every time you hear it.
For fans of: Elephant Six, TV on the Radio, Arctic Monkey's, Grandaddy, Belle & Sebastian, Prince, Stereolab, (I told you it was diverse)
Of Montreal- Hissing Fauna, Are You The Destroyer? Review (8/10)
`Hissing Fauna, Are You The Destroyer' is the 8th album by `Of Montreal' i.e. Kevin Barnes, who is responsible for this remarkable one-man operation. This concept album, released whilst Barnes was on anti-depressants, was developed with assistance from friends and family including James Huggins, (the Late B.P. Helium), Nina Twin (Barnes' wife), Heather McIntosh, Georgie Fruit (a glam rock alter-ego of Barnes), and Alabee Blonde (Barnes' daughter). The stunning packaging and art-work which adorns the album (and all `Of Montreal' releases) is the work of Barnes brother, David Barnes.
`Hissing Fauna.....' is an album of two parts with the meandering 12min dark-electro pop epic, `The Past Is a Grotesque Animal' being the transformation were Barnes marks his change into Georgie Fruit. The albums first part was developed by Barnes after spending time alone in Norway in which he went through an intense depression. Instead of channelling this into his music, Barnes "tried to uplift (his) life with sound" and this is plain to see in the unfettered pomp and swagger which forms the backbone of the album.
As with previous releases, `Of Montreal' cover an impressive spectrum of styles, moods and genres, both instrumentally and vocally. These range from the high-tempo sixties influenced rollercoaster of the opener `Suffer for Fashion', the subtle Scandinavian-IDM influence of `Cato as a Pun' right through to the neo-funk grooves and falsetto vocals of `Gronlandic Edit'. Elsewhere, listeners are treated to the refreshing anti-scenester stance of `Bunny Ain't No Kind of Rider' and the brilliantly arranged and unhinged jazz-funk of `Faberge Falls For Shuggie' which is brimming with a Prince-esque sexual swagger, a theme that is continued into the appropriately titled follow-up `Labyrinthian Pomp'. What `Of Montreal' do so brilliantly is that they interlace a wide range of styles and influences into one track with unrestricted ease, rapidly covering territories as diverse as 80's synth pop, 60's acid rock, 00's indie-punk and 70's funk. In addition to the diverse instrumental tapestry, Barnes lays his heart on the line throughout the album, addressing personal issues such as family, self-improvement, love, belonging and religion.
As with previous releases, tracks are not separated and thus crash into each other to create a wonderful sense of continuity and therefore, give the impression of immediate `switches'. `Hissing Fauna...' is a multi-dimensional and skilfully arranged piece of art that is brimming to the rim with ideas. Furthermore, it is lavishly produced and the continuous interlacing of styles injects longevity which makes this an album that will sound different every time you hear it.
For fans of: Elephant Six, TV on the Radio, Arctic Monkey's, Grandaddy, Belle & Sebastian, Prince, Stereolab, (I told you it was diverse)