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False Priest

Rate It! Avg: 4.0 (302 ratings)
False Priest album cover
I Feel Ya' Strutter
Our Riotous Defects
Coquet Coquette
Godly Intersex
Enemy Gene
Hydra Fancies
Like a Tourist
Sex Karma
Girl Named Hello
Famine Affair
Casualty of You
Around the Way
You Do Mutilate?
Album Information

Total Tracks: 13   Total Length: 53:48

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A little bit too precious


An uninspired hodgepodge of indie pop cliches with a little bit of late 90s video game thrown in for good measure. Nothing feels authentic. The quirkiness and intricacy feels calculated to the point of self-parody. Unfortunate because the band clearly has talent to spare. Next time maybe don't try so hard.

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You look like a playground to Kevin Barnes


On the watershed Hissing Fauna... Kevin Barnes let it all hang out, dancing the blues away through glam-rock gems and ironic indie missives. False Priest is nowhere near as personal, instead taking Skeletal Lamping's intergalatic funk to new extremes. Priest never becomes overly indulgent, if only because Barnes seems to understand that he is just playing around with a new persona, like Bowie trying on a new sonic costume every album or two. And if you don't like it? Well, there's always "The Gay Parade," right?

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Think Jack & the Beanstalk


Never has a band better matched fairly tale than OM. Putting aside the parallels in their whimsical sound/lyrics, every OM album starts as a seed. It seems bizarre and unremarkable the first couple listens. Then it sprouts from the ground, growing as tall as you, then the house, before finally stretching up to sky, taking you higher than any other contemporary artist. It is this reviewer's opinion that many OM detractors have stopped watering their album before it had the chance to realize its potential. And it's hard to blame them, because some of these albums (particularly Skeletal Lamping) take a hell of a lot of watering. But it is ever so worth the effort.

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Great album! I love that one cannot...


underestimate nor pin Kevin Barnes ever-changing efforts. Yes, savagepopster, I want an artist that's ever changing and challenges my complacency. I also do not appreciate it when a "true" fan always has to compare past releases as the best, yet still recommends any fan should still get this. A true fan can recognize value in each project. We need not put our own expectations on artists we admire as they are not neccessarily everyone elses expectations. Anyway, False Priest is as good if not better than the lauded Hissing Fauna. On False Priest I can better appreciate the vocal style of Kevin Barnes. Contrary to many out there, I actually love the song style of Kevin w/Janelle Monae. As for the Prince comparison I agree with Narrowstrife in his comment. It is an unfair comparison.

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Too early for ranking


Bottom line: if you have liked Of Montreal up until now, you'll want to hear False Priest. It seems as though each new album brings an outcry about whether Of Montreal has (or has not) changed, and how the new effort compares to the past. I have been a fan and consumer of the band for many years. From my perspective, Kevin Barnes seems to always be changing. And isn't that what we want from an artist? Whether False Priest is a masterpiece only time will truly tell. In the meantime, there is a great deal to like here. This is a dense pop-funk album that moves along at a fast clip, and doesn't sound like anyone as much as it does Of Montreal.

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No Hissing Fauna / Lamping


Feels just slightly bland after Hissing Fauna and Skeletal Lamping. Like his contribution to Janelle Monae's latest album, some of the tracks here sound like uninspired Georgie Fruit era highlight reels. That said, all fans should buy this - Barnes should be paid and paid well. Maybe drop the last 3 tracks if you want to avoid a trudge through some unusually unredeeming depressive sludge.

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Surprise... Another Excellent Album


What else would you expect? Actually, this is an improvement on Skeletal Lamping

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Best Album of the Year


...in a year filled with great albums. The Prince comparison is overblown however. Music critics need to stop leaning on the crutch of Falsetto+Funk = Prince. It's as generalized and unhelpful as Pop = Beatlesque.

eMusic Features


Of Montreal’s Little Red Coquette

By Michelangelo Matos, Contributor

Right - the Prince stuff. Let's start there. "Our Riotous Defects," track two of False Priest, Kevin Barnes's 11th album either with or as Of Montreal, channels Prince in a way that's even more direct than usual. Over the last few Of Montreal albums, Barnes hasn't been shy about his desire to come as close as possible to that sound and standard while still remaining his weirdo, hyperkinetic, Athens, Georgia-bred indie-pop self. But he's seldom… more »

They Say All Music Guide

The journey that of Montreal’s Kevin Barnes has been on both in music and in life over the past decade-plus has been colorful, to say the least. He’s gone from an ultra-twee indie pop miniaturist who sounded like he could barely get out of bed, much less his bedroom, to a half-naked ultra-pop maximalist who commands a stage and can’t wait to get into your bedroom. He’s probably shed a few fans of the band’s early Elephant 6 sound along the way as the focus has shifted from the Beach Boys to Prince, from indie pop to capitol “P” pop. Even the fans who stuck with the band may have been put off by oM’s previous album, Skeletal Lamping, which was quite graphic sexually and was half-baked and scattered musically. Hopefully any deserters will come back for False Priest, because this is the record where Barnes and oM put it back together in a graceful and fun package that’s filled with super-slick and hooky songs that sound tailor-made for pop radio in 2010 (if Mars had a radio station, that is…). Unlike on Skeletal, the songs are fully realized and produced with smooth perfection by Barnes and co-conspirator Jon Brion. There’s more focus and less weirdness for weirdness’ sake here, too. And very importantly, Barnes’ lyrics are predictably obscure and wacky, but instead of being creepy this time, they are back to being funny and sometimes sweet. It definitely makes the album easier to listen to, but even if the words were more over the top it might not matter since the music sounds so good. Brion and Barnes form the nucleus of the group (with Matt Chamberlain on drums) and they create a funky and rubbery sound that’s equally influenced by Prince, modern R&B, and ’70s disco prog but comes out sounding exceedingly modern. It’s an approach that will appeal to listeners who are able to see beyond strict genre boundaries and not worry about categories. The presence of fellow genre-benders Janelle Monáe and Solange Knowles on the album is proof of this appeal. Any album that can bounce from the indie rock of “Coquet Coquette” to the stuttering funk of “Girl Named Hello” to the singer/songwriter balladry of “Casualty of You” and back to the bouncy pop of “I Feel Ya’ Strutter” and Strokes-y modern rock of “Famine Affair” is definitely the work of someone who doesn’t care about rules. It’s the kind of album you wish Prince would make in 2010, the kind of album you can be glad someone is making in 2010. Though it’s a little long and a couple songs veer toward filler, it’s a return to form for of Montreal and more than justifies the hype and attention their live show has garnered. – Tim Sendra

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