Welcome to the wild mind of Kevin Barnes
By Aitor Zabalegui
Last year's "Hissing Fauna, Are You The Destroyer?" was a major turning point for Kevin Barnes, mastermind of the indie-pop band of Montreal.
While influenced by antidepressants, Barnes introduced the world to his glam rock alter ego, Georgie Fruit, in the cathartic 12-minute epic "The Past Is a Grotesque Animal."
It became apparent after that track that Barnes had discovered another medium for him to express his unabashed, brilliant madness.
"Skeletal Lamping" picks up where "Fauna" left off, expanding on the band's efforts to deconstruct the typical pop song.
The title, refers to lamping, a cruel -- and unfortunately legal in some places -- hunting technique which involves shining spotlights in the forest at night, then capturing or killing the animals that scatter in fright.
The album centers on Georgie Fruit, a black, twice-transsexual shemale. Georgie is a terribly confused individual and the record accordingly reflects that disorder with songs seemingly pieced together from half-minute stream of consciousness acid relapses.
The album opener and single, "Nonpareil of Favor," applies this collage style, starting with frantic harpsichords before abruptly switching genres -- and time signature -- every verse before finally settling on noise rock.
The most notable thing here is that it's only one song, yet Barnes pulls it off as a pop symphony of sorts. These aren't verses, they're movements.
With a total of 15 tracks reaching nearly an hour in length, this is a demanding and draining listen. None could be more drained, however, than Georgie, who by album's end is sapped of dignity and bodily fluids -- keeping in context, this is tragic baroque pornography.
Georgie reveals his sexual intentions early in "For Our Elegant Caste," offering to "do it soft-core if you want / but you should know I take it both ways."
Track after track perspires with sex, finding countless lovers rubbing thighs to consistently funky bass lines.
"Triphallus, To Punctuate!" explores the prospect of packing a trident -- in case one wasn't enough.
At times, Georgie manages to take breaks from his sexual forays to assess his caustic libido.
These are also the only times the album retreats from its manic approach. Barnes whimpers, "Why am I such damaged goods?" against a somber piano progression.
On "Plastis Wafer," Georgie manages to find true love in a woman described as the "only one with whom I would role play Oedipus Rex." The track shifts effortlessly between its sections with the band offering warm melodies, airy harmonies and slick guitar, culminating into a muddle of tribal sounds.
All the while, Barnes sighing, "You give me such a rush / make my whole body blush" may leave listeners checking their own complexion.
The album closes with the first single "Id Engager," a churning indie-disco jam featuring Barry Gibb-like wails from Barnes.
After its hasty ending, the track seems emblematic of how splendidly weird of Montreal has become.
Although harrowing and disturbing at times, "Skeletal Lamping" is nothing short of a whimsical experience. What more can be expected from an album that is packaged in paper lanterns?
Grade: B+
Contact Aitor Zabalegui at azabalegui@scu.edu.