Photo Credit: Christina Schneider
Of Montreal
Part psych, part experimental, always unique. Indie pop act Of Montreal have made that sound their calling card since first forming in 1996, and will bring their storied body of work to Turner Hall Ballroom on Wednesday night. The band is touring behind their most recent creation, Freewave Lucifer F<ck F^ck F>ck, which landed on streaming services this past July. The record was created, however, by frontperson Kevin Barnes during the heaviest lockdown period of 2020, with music that reflects that theme in Of Montreal’s own distinct way. Prior to Wednesday night’s show, we caught up with Barnes to discuss the band’s record and taking it out on the road.
This record was made into a much more tumultuous time. How did that ultimately affect this record?
I had just finished a record that we had self-released. So our label was like “time to get back to work,” and that was right in the middle of the pandemic. Things weren’t looking good, as in nobody knew if we’d be able to tour again, so that was definitely the backdrop for the creation of it. I have a home studio, so I just go in there whenever I’m feeling inspired. Just started experimenting, fooling around, and it all came to me within a couple of months.
It sounds like nothing is off limits when you hear this album. Do you ever go in without any concepts, and just see what happens?
Yeah, that was pretty much what the process was actually. Sometimes in the past I’ve written songs on an acoustic guitar or piano first, and then gone into the studio. This, however, was very much experimenting. Going in with no real ideas, and maybe dragging in some drum samples, and seeing what that inspires, or messing around with some synths. Everything kind of fell together in that way. No agenda or any rules in mind, other than just wanting it to feel composed. I wasn’t going to just go in and cut and paste sections. Each song could be six minutes of a musical journey.
Do you pick up any inspiration from outside of music?
It’s always hard to say, but I think the stuff I was reading and the movies I was watching played a part. I started getting into sci-fi films and literature. Obviously a lot of sci-fi things are about a dystopian future, and it kind of fit the mood of the time.
Was there any thoughts of never getting to tour for this record?
Pretty much all the time, whenever I’m making a record, it’s this cathartic experience. It’s like a form of therapy. Obviously, I needed a lot of therapy, just like everyone did at that time in the pandemic, so that’s why I was able to stay fairly prolific. Also, with the way I work, it’s a bit of more of an insular experience, so you’re not really thinking about how it’s going to translate live, until the other band members play the parts or things like that.
What has the initial response to this tour been?
It’s been great. It’s cool, because we have three performance artists on stage with us. That creates a bit of levity, because some of the songs are pretty heavy, and they have a spooky vibe to them. To some people that might feel a bit heavy or pretentious, or difficult to navigate. I think when you have a visual component to the performance, where people are wearing different costumes and things, it feels a little more playful. I think that’s helped people wrap their heads around the record, because it can be fairly challenging when you’re used to the pop template of verse, chorus, verse, chorus, the end.
Is there any part of the live show that stands out for you?
It’s the full experience. It’s hard to say, because there’s a lot dynamic things, emotionally, visually, sonically. There’s not this big showstopper moment, but there are some pretty big props, and lots of costume changes. It’s a fun time. I don’t think anybody, unless maybe if they’re morbidly sad, would leave feeling worse. (laughs)
Of Montreal plays Turner Hall Ballroom on Wednesday night. You can find out more about the show on the Pabst Theater Group website.
