The Adventures of Georgie Fruit
Prepared for another freak-out after MGMT’s psychedelic excursion through indie pop, listeners are treated to Of Montreal’s latest collection of appropriated funk with a touch of twee and “Hair”-like arrangement with Skeletal Lamping.
Beginning with “Nonpareil of Favor,” the album pops its way into Of Montreal architect Kevin Barnes’ Bee Gees-like pitch and phrasing until a crash of cymbals and dissonance midway into the track eases the listener into the next track.
Despite the next track, “Wicked Wisdom,” baring Of Montreal’s use of progressive funk structure, it displays a nice balance of pop and electronica, almost sounding like something New Zealand’s Flight of the Conchords would pen if they went from comedic and silly to ironic and diva-esque. The track plays a nice intro for Barnes’ onstage persona Georgie Fruit to shine in all his/her transsexual glory.
“An Eluardian Instance” opens with ’60s pop trumpets âˆšâ€ la Swedish twee, making it somewhat a breath of fresh and focused non-funky air before the inevitable Broadway-fest that ensues after “Gallery Piece.”
The second half of Skeletal Lamping drops the pop structure with Barnes indulging in more psychedelic arrangements with tracks like “Women’s Studies Victims” and “Death Is Not A Parallel Move.”
In a way, Skeletal Lamping proves to be a more focused step for Barnes and Of Montreal, but finding the balance should be key for a 15-track album that seems divided in two. Perhaps branding it a concept album would explain its operatic nature to fans who just want to dance to high-pitched harmonies.