| Pitchfork |
of Montreal are not a band. Or, at least, they haven't been for quite some time: Since 2004's breakthrough sixth full-length, Satanic Panic in the Attic, Kevin Barnes has largely written, recorded, and performed every album on his own, occasionally calling on outside collaborators (Janelle Monaé, Solange Knowles, Jon Brion) to add flourishes. He made the decision to shift toward creative solitude nearly eight years into a career that has now spanned 16, and the decision made sense. Since Satanic Panic, Barnes has treated LP form as highly personal forum exploration, a place to indulge his every whim without regard for his audience.In that sense, of Montreal's latest, Paralytic Stalks, is very much a 2000s-era of Montreal album: Barnes recorded it in his own Sunlandic Studios, with the assistance of strings arranger/performer Kishi Bashi and a smattering of session musicians, and he has stated that the album is very much of a front-to-back piece. But even for a songwriter as sonically adventurous as Barnes, something feels very different this time around. He's always been fond of concepts (2008's alter-ego-happy Skeletal Lamping, the funk freakouts of 2010's False Priest), but on Paralytic Stalks, Barnes sounds completely adrift, as if his thousand-synapses-firing-all-at-once approach finally blew a massive fuse....full text |
| Contactmusic |
| Of Montreal have recently revealed initial details about their new album, 'Paralytic Stalks' alongside the release of their career-spanning 'Cassette Box Set'. Frontman Kevin Barnes recently talked with Pitchfork about the progress he's made in the studio on behalf of the band's 11th album. Barnes is putting the finishing touches on the LP at his Apollinaire Rave studio in Athens, GA and is set for an early 2012 release via long time label Polyvinyl Records. Kevin also elaborates in the interview about of Montreal's forthcoming 'Cassette Box Set' release available 25th October via Joyful Noise. Limited to just 500 hand-numbered copies, the collection features all 10 of Montreal LPs in cassette format -- from 'Cherry Peel' (1997) to 'False Priest' (2010) -- and is housed in a custom-built wooden box, screen-printed with original artwork from David Barnes. In addition to the image on the right, you can view more pictures of the box Each of the 10 cassettes include the original album art. Purchase includes an instant MP3 download of the band's 10 full-length albums. The custom boxes were designed and constructed by Deep Wood Workshop, and screen-printed by In Case of Emergency Press. From the 12th September, fans can pre-order 'Cassette Box Set' for $75 for one-week only. Then from 19th September the price goes up to $100. Copies can be pre-ordered from Joyful Noise...full text |
| Clatl |
| In a word, Of Montreal's Paralytic Stalks is wicked. Whether delving into Kevin Barnes' lyrics — which tear open with the not-so-subtle intro to "Gelid Ascent": "You are what parasites evolved from" — or navigating the baroque pop of "Wintered Debts" as it bleeds into wintry avant-garde landscapes, Paralytic Stalks is a refreshingly menacing album to the core. "We Will Commit Wolf Murder" brings the energy to a fine point on the dance floor, but "Exorcismic Breeding Knife" is the droning heart of darkness, a noisy ocean of tension and surrealist dirges that contribute as much to the album's air of miasma as Barnes' chafed songwriting. When the smoke clears he emerges, still glowering, but "Authentic Pyrrhic Remission" restores the group's pop form. The album's abstract essence eclipses the typical wide-eyed pop stylings that have defined Of Montreal in the past, revealing new layers of depth and darkness that culminate in a sonic masterpiece....full text |
Of Montreal lyrics

of Montreal are not a band. Or, at least, they haven't been for quite some time: Since 2004's breakthrough sixth full-length, Satanic Panic in the Attic, Kevin Barnes has largely written, recorded, and performed every album on his own, occasionally calling on outside collaborators (Janelle Monaé, Solange Knowles, Jon Brion) to add flourishes. He made the decision to shift toward creative solitude nearly eight years into a career that has now spanned 16, and the decision made sense. Since Satanic Panic, Barnes has treated LP form as highly personal forum exploration, a place to indulge his every whim without regard for his audience.