Of Montreal : Paralytic Stalks
Rating: 2.5/5 stars
Label: Polyvinyl Records
Of Montreal veterans may approach this album, as I did, with excitement and expectations for a mélange of bold, curious, and catchy tunes. Instead, Paralytic Stalks – their eleventh album – presents itself as a challenging patchwork of peculiar hymns and raw lyrical admissions, sprinkled with a few catchy hooks.
Those who became acquainted with the band in their early days as part of the Elephant 6 Collective know that evolution is nothing new to Of Montreal. What may surprise, though, is just how far Paralytic Stalks strays from the accessible, indie-pop ballads of yore, like The Party’s Crashing Us Now.
Kevin Barnes, the multi-talented vocalist and instrumentalist behind this nine-track album, pushes the envelope to extremes in this genre-bending release that ambles from gaudy ‘70s disco to pseudo-country twang. It’s apparent from track one that Barnes has used this album as a personal therapy session, unleashing his innermost thoughts as if he’s on the therapists’ couch.
Spiteful Intervention starts off with a somber, imposing verse before segueing to an energetic, camp chorus. Despite the melodic shift changes, Barnes maintains his classic party trick of juxtaposing morose lyrics on a twee musical background as he exclaims, “I spend my waking hours haunting my life / I made the one I love start crying tonight / And it felt good”. If you’re head-bobbing to the beat then these tidbits of penance may easily slip by, but they shouldn’t because this is what Of Montreal does best.
Next, you’re time warped to the age of disco in Dour Percentage, which draws heavy influence from the Bee Gees. Fast-paced, energetic and bordering on disco- bubblegum pop, Barnes emulates the signature falsetto voices of the brothers Gibb to a tee. The track stands out from others in that it is enjoyably chipper, if a bit ridiculous. Fans of the band’s older track ‘Brush, Brush, Brush’ will appreciate this ditty and have it stuck in their heads in no time.
A recurring theme across the album is that of love and honesty about relationships – including that of Barnes’ wife, Nina. We Will Commit Wolf Murder is the mesmerizing masterpiece of the album. With so much puzzling anarchy, this is one of the few songs that is very well structured. Barnes writes an open letter of love and yearning as he croons the line, “Lately you’re the only dancer I believe in” with an emotional credibility that leaves the heart heavy. It manages to tightrope beautifully between soft cantos and energetic bridges to create a symphony that is simultaneously galvanizing and analgesic.
The theme of love continues in Malefic Dowery, which describes a relationship that has turned mundane over time, evidenced by the lyrics “Now we’re a bore, we’re afternoon TV”, sung with palpable resignation. As the song reaches its peak, Barnes hauntingly sings “Once more I turn to my crotch for counsel / and it won’t disappoint me”, leading to questions of what might have been in his bloodstream.
The closing track, Ye, Renew the Plaintiff, moves away from the more sober songs above into an angry, jumpy piece that is nearly nine minutes long. Dedicated to Barnes’ wife, this honest tune reads like a diary entry before ending with a two minute long kaleidoscopic outro. While making this song was probably cathartic for Barnes, it’s more than a chore to listen to as you trudge through his sonic mental
breakdown.
Barnes has stated in interviews that Paralytic Stalks is meant to be taken in its entirety. The overall experience of the album leaves no grey zone. Patience to process it as a whole, rather than the sum of its parts, might be asking a lot of most listeners. Bottom line: you’ll either find it avant-garde and eccentric, or messy and unmerciful.
-Desmond Carter
