Of Montreal's Kevin Barnes Says Their New Album Comes From a 'Darker Place'

Page 2 of 2

There are a few different shows that you've done in New York that have a few over-the-top sort of antics, like when you came out on stage riding a horse at the Roseland Ballroom. Do you feel a need to top that sort of thing, or do you want to move away from it?
I'm trying to not necessarily back away from it, but I feel like right now there's so much flash in music, so much showmanship. Which is great, like Lady Gaga, for example. But I think that in my head, I want to make something that's less superficial. I've been listening to a lot of John Lennon solo stuff and realizing how powerful that music is when it's more raw and direct. I want the stage production to work within that context. I've done that already, you know? I've been on a horse. I've been naked. I've covered myself in glitter, and all that stuff, and it was really fun but I don't want to just do it over and over again. I don't want to become a caricature of Georgie Fruit or whatever. I want to keep growing as an artist. I want to keep doing different things and trying different things and exploring my imagination.

How will this affect your choices of what older songs to play?
I had this kind of cool realization recently where, forever I've been thinking that, "Oh, the show has to be this upbeat dance party from start to finish, and I just want all the songs to kind of blend together and I want it to feel sort of like a mix-tape, like a really well-made, upbeat mix-tape." I realized there's a sort of insecurity in that; you're always afraid of letting the energy go down, and it's almost like you want to get off the stage at a super-high point and you worry about there ever being a moment where people get bored and start talking. But I want to be less insecure. We've got this hour and a half, whatever it is, 70 minutes on stage, and there's no reason to feel like, "Oh we need to apologize for taking chances with certain songs that aren't necessarily everyone's favorite song." I'd rather play slightly more obscure songs that fit the mood of Paralytic Stalks, rather than make it this upbeat dance party. That's not to say it's going to be extremely tedious and pretentious and boring, you know? I just want to make something that's a bit heavier, more beautiful and more emotive.

So what older songs would fit into this kind of show?
I was thinking of playing "Nonpareil of Favor," which is on Skeletal Lamping. It definitely starts off really upbeat and happy, and then it goes into this kind of crazy, noisy guitar thing. So I'd like to play some of the longer songs. Because most of the songs on Paralytic Stalks are pretty long. Or at least half of them are at least six to 10 minutes long.

When you write a song like that, are you kind of piecing together different fragments and ideas?
Well, nowadays, I don't usually write before I record. So I'll write and record a section of a song and work on that for a couple days, and once that's done, it’s "Okay, well now where do I want this song to go?" So I'll work in blocks of a minute, minute and a half. So you could say, "Well that could be a verse and that could be the chorus so let's just repeat that verse and repeat the chorus again and you're done! " Which is kind of a lazy way to write songs, but that's just the way pop music goes, for some reason. There's so much repetition in pop music, and that's cool, that's what it's about. But sometimes I like to get out of that and put a little bit more thought into it and make it a bit more transportive and not worry so much about the hookiness of it.

When did you make that shift over to kind of writing directly to tape?
I guess it was probably around The Sunlandic Twins. I think Satanic Panic in the Attic, I was still writing songs on acoustic guitar and working on it a couple months before recording it. Then I sort of realized there's no real reason to do that. Which on some levels is kind of a shame, because whenever I try to do solo shows, I don't even know what to do with myself because it seems so boring just playing them on acoustic guitar. But back in the day, when you're writing on the acoustic guitar, at least for me, I would try to make the acoustic guitar part kind of interesting too. But now it's like all about the layers and instrumentation, which doesn't really translate as well on acoustic guitar.

Was there anything that came out in the past year that really inspired you?
I was really inspired by Sufjan Stevens' record, The Age of Adz. That woke me up in a way where I realized that music doesn't have to be extremely digestible. You don't have to think about getting a song on someone's iPod playlist. You don't have to accommodate the direction that people are going with music, where they want one single, they don't give a shit about a record, they just want one single that they can put against all of the other singles and I feel there's a superficiality to that. At least for me, for someone who loves music and wants to connect with the human race through music or art, you don't really get that with some three-minute pop song about getting drunk and partying and all that. 

The first song you put out from this record is "Wintered Debts." Why did you choose that song as people's introduction to the new album?
I think it was a pretty good representation of what people will be able to expect on the record. It is one of the longest songs and it's one of the more intimate songs – at least it starts that way until it transforms into something different. We could have picked any number of songs on the record, but I guess that one just felt right. I don't care if any of the songs get played on the radio and I don't care if it's even a popular record with people. I'd hope that people can connect with it, but that wasn't the motivation for making it. I'm not really plotting like, "This will be the one that gets them! And then I'll give 'em this one!" It's not like that. It doesn't matter. People could hear any of the songs.

Did you have greater commercial ambitions for any of the previous records?
Yeah, definitely. With False Priest, I was definitely hoping it would help us take the next step commercially, and that's why I did certain things like make a song that was kind of shorter, but also gave them logical titles. And it's funny because for some reason in my head I thought it was a very commercially acceptable record, but I was listening to it the other day and realizing that it's actually not that commercial. It's not a record that would necessarily make a band, or get a band on the television, or break a band, because it's still pretty artsy and weird, and also anachronistic in that it's pulling from these influences that most 18-year-olds aren't interested in. Most 18-year-olds don't think Isaac Hayes is awesome.

The Surreal Life: Of Montreal Feature
Of Montreal's Kevin Barnes Talks Next Album, Live DVD and MGMT Side Project
Of Montreal Debut "Teenage Unicorn Fisting" for Rolling Stone
Of Montreal Attracts Football Players, Glam Fans in D.C.
Susan Sarandon Spanks a Pig at New York Of Montreal Show

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

Music Main Next

blog comments powered by Disqus
Around the Web
Powered By ZergNet
Daily Newsletter

Get the latest RS news in your inbox.

Sign up to receive the Rolling Stone newsletter and special offers from RS and its
marketing partners.


We may use your e-mail address to send you the newsletter and offers that may interest you, on behalf of Rolling Stone and its partners. For more information please read our Privacy Policy.

Song Stories

“You Oughta Know”

Alanis Morissette | 1995

This blunt, bitter breakup song -- famous for its line "Would she go down on you in a theater?" -- was long rumored to be about Alanis Morissette getting dumped by Full House actor Dave Coulier. But while she never confirmed it was about him (Coulier himself says it is, however), she insisted the song wasn't all about scorn. "By no means is this record just a sexual, angry record," she told Rolling Stone. "The song wasn't written for the sake of revenge. It was written for the sake of release. I'm actually a pretty rational, calm person."

More Song Stories entries »