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Skeletal Lamping

by

of Montreal

 
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Skeletal Lamping
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Avg: 3.5 (473 ratings)

The already outsized sounds Of Montreal get even bigger. And for them, that's saying something.

  • We Say...

    Review by Lindsey Thomas

    Any good concept album has a compelling character at its core, and Skeletal Lamping is no exception. Protagonist Georgie Fruit isn't just any transgender middle-aged black man — he has undergone multiple sex changes, making him the perfect alter ego for charismatic and chameleonic Of Montreal frontman Kevin Barnes, whose musical persona is capricious, unsettled and over-the-top. And also very horny.

    Skeletal Lamping is packed with blush-worthy come-ons draped in imitation-Prince squeals. Georgie, throughout the album, comes across alternately as a savvy bedroom connoisseur and a disposable plaything for the sexually curious. He's a product of the disco era, and his after-bar stories are set to limber bass lines and a driving beat. But the quieter moments reveal his insecurity, his damaged self-esteem and contemplation of yet another surgery.

    Despite the personal crisis that shapes the album's narrative, Barnes, perhaps unsurprisingly, never loses his playful side. In "For Our Elegant Caste," for instance, he refers to Georgie's transformation as "a freaky permutation, something like Voltron," making clear that Georgie's stints under the knife didn't sacrifice his sense of humor.

    As they have graduated and mutated from modest indie pop to extravagant, massive glam-pop, Of Montreal's vision has become grander, and their approach more intricate. An album like Hissing Fauna, Are You the Destroyer? with its kaleidoscopic sound palette (and album cover) piled sounds and ideas and moods and approaches in elegant layers. Skeletal Lamping takes it even farther, with results that require patience. But with its majestic three-part falsetto harmonies and engrossing narrative, it's patience well spent.

  • They Say...

    Review by Andrew Leahey, All Music Guide

    During the closing moments of 2007's Hissing Fauna, Are You the Destroyer?, bandleader Kevin Barnes introduced his alter ego, an effeminate singer by the name of Georgie Fruit. One year later, that character runs amok on Skeletal Lamping, having wrenched the spotlight away from Barnes' sugary pop and trained it on an ambitious hybrid of glam rock, experimental R&B, and Scissor Sisters-styled sex-funk. Barnes sounds truly uninhibited under the Fruit guise, making declarations like "I'm just a black she-male!" with flamboyant confidence. Such a shift in direction marks Of Montreal's ascent into the psychedelic clouds where Ziggy Stardust once flew, only this time, the listener catches a ride on the back of a transgendered Prince fanatic whose songs are fragmented and confusing, yet still peppered with irresistible hooks. Like the album's cover art (an origami-influenced billfold whose flaps unfurl to form a giant floral display), Skeletal Lamping demands attention by being purposely puzzling. The music is extravagant and elaborate; each song is comprised of multiple vignettes, many of them completely different in style, and each track spills into the next. It's interesting to watch the pieces fit together -- to pinpoint the exact second where one song ends and another one begins. But whether or not you enjoy Skeletal Lamping depends on your tolerance for unchecked ambition and left-field experimentation, both of which are emphasized here. Of Montreal have rarely sounded so free, so unrestrained, but this is a love-it-or-lump-it album, a polarizing effort that -- depending on personal preference -- is either irresistibly attractive or overzealously pretentious.

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