Lookie here, my dear (Don’t miss this album!
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Lookie Here, My Dear is a weekly column that spotlights albums that have evaded the Big Sites (Pitchfork, Stereogum, Allmusic, etc,). This week’s album is one that especially needs some extra love and support: Of Montreal’s 21st album: I Feel Safe With You, Trash.
Image from Of Montreal’s Bandcamp, please consider supporting an artist you love today on Bandcamp
Of Montreal is the closest I have gotten to embracing a Phish/Grateful Dead style fandom over a band. I would absolutely drop everything I am doing in my life to follow of Montreal on tour. I am singing along to every song. I don’t have the songs consciously memorized, they have been programmed into me. I have listened to a full bootleg version of False Priest and have seen them live more than any other musical act in my lifetime (Around 10 times in three different states and one different country). As an aggressively weird and emotional kid growing up in the South that wanted to break through the gender binary and frighten and challenge the “normals,” you couldn’t ask for a better soundtrack than Of Montreal. I discovered them in 2007, the year of Hissing Fauna, Are You The Destroyer? The last album Of Montreal would earn Pitchfork and Big Publication’s laurels and respect.
There have been 10 albums out since Hissing Fauna and I love the majority of these albums to various degrees. There is a B-sides rarity compilation Daughter of Cloud that I haven’t really spent time with and a couple of real dud LPs: Innocence Reaches and UR Fun. UR Fun was the most recent Of Montreal album that came out in the beginning of 2020 and was more or less written off as a complete failure by critics and online fairweather fans. Critics have actively grown disdainful over Barnes’ eccentricities and their overwhelming unfashionability, there hasn’t been anything trendy about of Montreal in nearly 14 years. Real of Montreal fans know there’s usually one middling album that paves the way for a much stronger release. Mainly evident in the jump of quality between Innocence Reaches and White is Relic. The leap in quality between Trash and UR Fun is astonishing.
UR Fun has some choice cuts and even the worst Of Montreal albums are more interesting than a good deal of today’s musical landscape. I saw Of Montreal live for UR Fun in February 2020, one of the last full capacity shows that would ever happen in Brooklyn’s Brooklyn Steel venue, perhaps forever. Unfortunately it was one of the most unpleasant oM concerts I attended and no fault of the band but due to the audience. Restless and rude bodies going back and forth, forth and back to the bar or who knows elsewhere and shoving people around. An absolute covid nightmare. Nobody attending concerts in January and February 2020 were appreciating them as much as they should.
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Of Montreal had been releasing their albums on Polyvinyl since their sixth LP, the critical breakthrough Satanic Panic in the Attic. At that point Barnes had already spent 8 years building up a devoted cult following and making hysterically ornate psychedelic pop and lo-fi rock confections. Of Montreal seem to have a layered working relationship and have been a stable home for Barnes’ adventurous output. What’s remarkable is that none of these shifts in sound ever feel like counter culture role play or trying on an EDM hat or a alternative country hat, they are always distinctively an Of Montreal album. Besides stylistic adventurousness the other running throughline that connects the of Montreal discography together is Barnes’ penchant for hyper-literate, bold everything and the kitchen sink approach to lyricism and songwriting. The highly divisive, gloriously deranged Hissing Fauna follow-up LP, Skeletal Lamping is where the free-verse, songs within songs approach fully becomes a mainstay for Barnes. Even though I Feel Safe With You, Trash is being released on a separate personal vanity label, Sybaritic Peer, Of Montreal and Polyvinyl continue to be a fertile label and artist relationship.
I Feel Safe With You, Trash is also notably the longest album released by Of Montreal since 2004’s Coquelicot Asleep in the Poppies (1 hr 9 mins) clocking in at 1 hr 6 mins. As of writing this article I have already listened to the album three times and counting upon its official release date. Not because I have a moral principal about how many times a person should experience art before analyzing it, but because the album is so damn replayable. Of Montreal at their best, and this album represents Barnes at the height of their powers, reminds me why I love and obsess over music. Hardly anyone making music today is making music this bold and adventurous. At this point in their career Barnes has more than solidified their status as bonafide Japanese word for a Music Witch.
Barnes has been performing and producing every single instrument and singing every backing track on their albums for over two decades now, and still indicates not even a sliver of fatigue. There are days where I can barely write a single thought down because I know it won’t get a single like, it won’t lead me any closer to picking up the camera and nailing that perfect monologue. I can be salty about the life of obscurity I have built for myself, but then I have to remember Kevin Barnes. A bonafide musical genius that hardly bothers to get the word out. Barnes seems incapable of stopping making the sort of albums a person can get lost in for days. They are my biggest musical heroes, they represent exactly the sort of path I want to carve out for myself.
I Feel Safe with You, Trash is the embodiment of the gift that keeps on giving. A portrait of an LGTBQI+ artist 25 years into a career completely devoid of diminishing returns. There have been some missteps along the way with “Georgie Fruit'' and having too much fun during a mid-life crisis with UR Fun. More importantly I Feel Safe with You, Trash represents real, critical growth for Of Montreal. And this is Album One of Two of 2021, the year Of Montreal continued to take up a considerable portion of my mental bandwidth, it’s pure bliss.
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Notable Tracks:
Aries Equals Good Trash - The first obvious “single” for the album that has a serious swaying lilting, uneasy beat. The vocals on this track are indicative of the overall shift in quality in Barnes vocals that have gotten a lot less strained and smoother. Favorite lyric/delivery:
“I compare thee to a saturnalia (ha!) if I may be so rude.”
The song also touches upon Barnes’ relating to be on the spectrum, both the gender/sexual spectrum and the cognitive one. Music for people breaking new ground with a broken brain.
Now That’s What I Call Freewave -
“Every time I look at my phone I get brain damaged. By every blamedead person I get lobotomized"
This song is also the first song in the Western music canon to introduce the phrase “feelbad songs of Covid summer.” This song also marks the first appearance of several where Barnes is absolutely shredding the guitar. I don’t really listen to much music that places and emphasis on “solos” or melting the fret board, but how can you not get excited by that burst of guitar? Also leave it to Barnes to find a way to also shout out an experimental cinema deep cut, Chick Strand’s Soft Fiction. I also discovered the Czech film Valerie and Her Week of Wonders through the song “st. exquisite’s confessions.” Why not also use your songs as a chance to shout out cool obscure cinema?
Still from Chick Strand’s Soft Fiction
True Beauty Forever - Of Montreal go future funk. If you don’t know what that means don’t worry I’m brewing up a whole story on the joys of future funk.
“I'm a black widow and I don't bite you so I guess I'm in love!
Possibly my new favorite Of Montreal song...
Fuckheads Is the Auto-correction - Okay I need to nix that phrase from my vocabulary because nearly every song on this album could be considered a new favorite. How can you top this opening couplet:
Am I a creep because I don’t have a chosen pronoun? Am I a creep because my mind is the Odeon of the multiverse?
Drowner's TeÃrs - The use of pitched up vocals is an example of some of the new bells and whistles added to the oM sound palette.
Fingerless Gloves & Kcrraanggaanngg!! - Find Barnes doing death core, metal styled goblin shrieks and it really, really works. More absolutely gnarly and nasty fret work.
Yamagate Florest Flutes & ThRam Rammaged à Man-Mod - Reggae/Dub Of Montreal? :O
Notes Of ViOlate SPectates A Flatter Of Male & So Chill Then (o Portão) - On an album this dense and frenetic there had to be some more ambient and chill passages and having So Chill Then as the album closer makes for a satisfying, soft landing.
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And to close whole she-bang up here’s a picture of Of Montreal performing at one of the best music festivals in the world, Pahoda in Slovakia:
This post is in no way associated with Of Montreal in any way, but I highly recommend checking out and subscribing to Of Montreal’s Patreon Page and ride the artwave!
