By Erin Hayes

Gargoyle staff reporter


Posted Tuesday, Jan. 23, 2007, The OG, arts

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AT A GLANCE

— CD: Of Montreal, “Hissing Fauna, Are You The
Destroyer?”
— Released: Jan. 23, 2007
— Of Montreal's Web site
(listen to the album here)
— Of Montreal's MySpace
page (listen to sample tracks there)
— Of Montreal's Wikipedia entry

OF MONTREAL'S LATEST experiment, “Hissing Fauna, Are You The Destroyer?,” is quite a venture out of the ordinary. What seems to be the lovechild of neo-glam psychedelia and indie electro-pop, it is a fascinating step on Of Montreal's journey, expanding on several musical tactics that were explored in the band's most recent releases, “The Sunlandic Twins” (2005), and “Satanic Panic In The Attic” (2004).

Essentially, this album marks a transformation: Of Montreal, once a storytelling, almost surrealist, acoustic-based band, have fully evolved into an over-the-top, electronically based and beat-driven pop machine.

While “The Sunlandic Twins” still incorporated many of the laid-back, introspective, and surrealistic elements of their earlier releases, it also extended the use of electronic instrumentation (first heavily used in 2004's “Satanic Panic In The Attic”) and tested more confident and straighforward vocals.

Since this adoption of electronic instrumentation, Of Montreal have also gradually shown more inspiration obtained from the glam rock movement of the early 1970s, which is particularly obvious on “Hissing Fauna.”

In the first track, “Suffer For Fashion,” lead singer Kevin Barnes introduces sexualized and insistent vocals drawing heavily from those of David Bowie. This style is showcased throughout the album, with Queenesque harmonies scattered on top, like icing on a cake.

Their recently revamped Web site replaced intricate psychedelic designs with neon stripes and a repeating slideshow of Barnes (clad in a ruffled, magenta top) applying blue and purple eye makeup, which indicates the band's glam metamorphosis. Barnes has even taken on a glam alter ego (a la Bowie's extraterrestrial counterpart, Ziggy Stardust), whom he named George Fruit.

My point? Of Montreal has obviously undergone a serious identity shift. It would be unfair to judge “Hissing Fauna, Are You The Destroyer?” through the same lense as one would judge “The Bird Who Continues To Eat The Rabbit's Flower” (1997) or even “Satanic Panic In The Attic.” You have to take it for what it is: a dynamic band's first steps in their newest shoes.

As such, this album is excellent. It is unusual, to be sure, and admittedly a bit esoteric. However, it is not entirely exclusive in the scope of whom it will reach.

While anyone can appreciate the poppy, tumbling melodies this record has to offer, its primary source of appreciation will probably be found in listeners who are already familiar with Of Montreal's work.

“Hissing Fauna” will be thoroughly enjoyable for this audience because it is not quite
what was expected, but it remains terribly interesting to listen through and decipher Barnes' ideas within the music, from the glam transformation to his continued sense of satire; from his remaining elements of storytelling to slightly outlandish vocal experimentation.

So, I applaud Of Montreal for shoving so many zany musical toys into one metaphorical toy box. Sure, “Hissing Fauna” may be a little incoherent at times, but the fun the listener gets out of this record is definitely worth it.