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Barnes continues to write amazingly creative lyrics full of imagery, even including interludes of story on \"Lecithin's Tale of a DNA Experiment That Went Terribly Awry\" and \"The Events Leading Up to the Collapse of Detective Dullight.\" \"Let's Do Everything for the First Time\" is classic \u003cstrong\u003eof Montreal\u003c\/strong\u003e, while \"Penelope\" has a \u003cstrong\u003eSyd Barrett \u003c\/strong\u003efeel to it. Strings are the main feature of mellow and beautiful \"It's a Very Starry Night,\" and \"It's Just So\" could have been lifted right off of \u003cem\u003eBedside Drama\u003c\/em\u003e. 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After a very prolific period there, they returned to Athens, GA, and assembled the cast of musicians to begin the sessions.\u003c\/p\u003e\n\u003cp\u003eBarnes eschewed computer recording -- with its pitch correction, limitless effects plug-ins and editing possibilities -- and instead, with the help of engineer Drew Vandenberg (Deerhunter, Toro y Moi), they recorded \u003ci\u003eLousy with Sylvianbriar\u003c\/i\u003e in their home studio on a 24-track tape machine.\u003c\/p\u003e\n\u003cp\u003eWith no computer tricks to fall back on, the band -- Kevin Barnes (guitars,bass,vocals), Rebecca Cash (vocals), Clayton Rychlik (drums,vocals), Jojo Glidewell (keys), Bob Parins (pedal steel,bass), and Bennet Lewis (guitars,mandolin) -- could only get out of the recordings what they put into them.\u003c\/p\u003e\n\u003cp\u003eMost of the tracking was recorded live with the band in the same room together. They worked quickly, with the band members composing their parts on the fly and with little second guessing. The album was recorded in just three weeks.\u003c\/p\u003e\n\u003cp\u003e\"I knew I wanted the process to be more in line with the way people used to make albums in the late 60s and early 70s,\" reveals Barnes. \"I wanted to work fast and to maintain a high level of spontaneity and immediacy. I wanted the songs to be more lyric-driven, and for the instrumental arrangements to be understated and uncluttered.”\u003c\/p\u003e\n\u003cp\u003eOpening track and lead single \"Fugitive Air\" feels like a Stones-y anthem, with sparks of Philip K. Dick's psychedelic prose, Ralph Bakshi's cartoon violence, and William S. 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To be played very loudly at parties and with eyes closed, in headphones, alone. It should become dog-eared and dirty with use and it should lessen the blow of our enemies, in all their forms.\u003c\/p\u003e","brand":"Polyvinyl Records","offers":[{"title":"CD","offer_id":52727478124851,"sku":"PRC-268CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":50818974253363,"sku":"PRC-268DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/84438b7aae55a0638073ef798e50b4ef.jpg?v=1735838689"},{"product_id":"of-montreal-daughter-of-cloud","title":"of Montreal - Daughter of Cloud","description":"\u003cp\u003e\u003cstrong\u003eof Montrea\u003c\/strong\u003el's Kevin Barnes is one of the most prolific songwriters of their generation.\u003c\/p\u003e\n\u003cp\u003eRarely does a day go by when Barnes won't be found in the studio they built at their Athens, GA home. Whether practicing different recording techniques or exploring new directions with their musical output, Barnes is constantly working to refine their craft.\u003c\/p\u003e\n\u003cp\u003eEqually as impressive as the number of songs of Montreal has released is the breadth of genres they span. It is beyond a doubt that the band has never released the same record twice -- and the band's new rarities collection is no expection.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eDaughter of Cloud\u003c\/i\u003e compiles 17 of Montreal recordings ranging from the \u003cem\u003eHissing Fauna, Are You the Destroyer?\u003c\/em\u003e era to the present. 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The question too feels very of its time—as outdated ideas about gender and attraction are being overturned—but it's also a fair ask whenever \u003cstrong\u003eof Montreal \u003c\/strong\u003edebuts an album.\u003c\/p\u003e\n \u003cp\u003eThe project's 14th LP follows two full decades of mercurial creative mania: swallowing up '60s psych-pop, Prince-ly funk, and glammy prog in turn; morphing freely between full-band affair and cloistered confessional booth; comprising lyrics both painfully personal and absurdly fantastical; and recently drawing site-specific inspiration from culture capitals like San Francisco or New York City. The thread that runs through it all is Athens, GA's Kevin Barnes, and \u003ci\u003eInnocence Reaches\u003c\/i\u003e finds them at their most light-hearted in years, working a Parisian stint, Top 40 sounds, and their newfound single status into the kaleidoscopic swirl. Even as they continue to sift the sonic and emotional detritus of their past, Barnes sums up their current mood in the opener's title: \"let's relate.\"\u003c\/p\u003e\n \u003cp\u003eThe most immediate surprise is the sound.\u003ci\u003e Innocence Reaches\u003c\/i\u003e is touched by contemporary electronica, indie pop, and EDM. For the first time in their career, Barnes tuned into now. \"Forever I've been detached from current music,\" they say. \"I got into this bubble of only being in some other time period. I came up picking apart the Beach Boys, The Beatles, and symphonic pieces. But last year, I was hearing Jack Ü, Chairlift, Arca, and others, thinking about low end and sound collage. It was an extra layer to geek out on.\"\u003c\/p\u003e\n \u003cp\u003eParis helped with that. Barnes lived in a friend's studio for two weeks. It was in an apartment complex and, as they prefer to work at night, they couldn't thrash loud instruments for fear of noise complaints from the neighbors. But the in-house arsenal of vintage synthesizers and drum machines was fair game—check the skittering beats of \"a sport and a pastime\" and thick hum of \"chap pilot.\"\u003c\/p\u003e\n \u003cp\u003eBy day, Barnes wandered Père Lachaise Cemetery, sat at cafés and wrote poems, read Jeans Ganet and Cocteau, or eavesdropped on conversations they couldn't translate. \"Being in that place where no one looks at me twice and I can't even understand the language was like entering a parallel universe,\" recalls Barnes. \"It was cathartic and inspiring to amputate myself from my normal life and feel like an individual outside of all the baggage and memories.\"\u003c\/p\u003e\n \u003cp\u003eEnjoying anonymity, they sorted through the inner wreckage left by their divorce two years prior, and took stock of the briefer relationships since. \"my fair lady\" bids adieu to a familiar figure over sax-streaked disco-funk, but we soon meet Sarah from Detroit on darkwave dream \"ambassador bridge,\" and Gabrielle the Athenian Beach Goth amid the trappy space-glitch of \"trashed Exes.\" In \"les chants de maldoror,\" our hero cooly declares, \"We only act nicely when we're ruining hotel beds\/I greeted you in a hundred doorways.\" \u003ci\u003eInnocence Reaches\u003c\/i\u003e continues of Montreal's recent autobiographical streak, which finds Barnes \"fetishizing reality,\" as they put it.\u003c\/p\u003e\n \u003cp\u003eBut they're concerned with a broader reality as well. \"it's different for girls\" is an exploration of the \"dilemme féminin\". Combining Daft Punk's aptitude for groove with LCD Soundsystem's wit—an endlessly quotable track that has Barnes outlining the dangers inherent in binary gendering: \"It's different for girls,from when they are children they're de-personalized, aggressively objectified...\" and later Barnes sings \"It's different for girls, they are mercurial creatures, not a masculine dissonance or sexual currency\". The song is less feminine anthem and more pop exegesis of societal codes. \"though some women are demons all of them are God\". Indeed.\u003c\/p\u003e\n \u003cp\u003eApropos, Innocence Reaches' cover design was an attempt by a new first-time father—Kevin's brother David—to express their \"wonderment for the female anatomy.\" And the aforementioned \"let's relate\" was indeed inspired by trans issues, a subject dear to Barnes' heart. \"I have a history of gender-bending in performances, but that's also always been a part of my identity as a human,\" they say. \"I'm thankful to have an outlet for that, to express that and not get chased out of town or beat up. I think we're moving in the right direction now.\" The song is a call to find common ground in simply being human: \"I like that you like you\/I think that you're great\/I want to relate,\" they sing cheerily.\u003c\/p\u003e\n \u003cp\u003e\u003ci\u003eInnocence Reaches\u003c\/i\u003e features darker moments to be sure—isolation, anger, indifference, and the feeling that, like a Truffaut film, madness lurks just outside the frame—but as Barnes explains, \"Epiphany comes from breakdown. If you can stay open and vulnerable, the nebulous becomes transparent. 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Rex while staying true to of Montreal's signature kaleidoscopic song structure.\u003c\/p\u003e\n \u003cp\u003e“Empyrean Abattoir” begins dark and brooding before unfurling into a revved up Television-inspired outro, as all the while Barnes lays bare their most gut-wrenching lyrics.\u003c\/p\u003e\n \u003cp\u003eClosing track “Like Ashoka’s Inferno Of Memory” ends the record on an appropriately epic note, reveling in its seemingly effortless shifting of tempos and tones — a microcosm, really, of the overall album’s auditory audaciousness.\u003c\/p\u003e\n \u003cp\u003eLike 2013’s \u003ci\u003eLousy with Sylvianbriar\u003c\/i\u003e, \u003ci\u003eAureate Gloom\u003c\/i\u003e was recorded directly to tape with musicians Kevin Barnes (guitar, vocals), Clayton Rychlik (drums), Bob Parins (bass), Bennett Lewis (guitar), and JoJo Glidewell (keys), plus the help of engineer Drew Vandenberg.\u003c\/p\u003e\n \u003cp\u003eHaving already spent many of the previous months touring together, the strength of the members’ musical rapport was instantly apparent. The group completed nearly a song a day during their stay in the desert and even wrote a brand new track on the spot, “Apollyon Of Blue Room,” whose title references a supposedly haunted bedroom in a hacienda on the studio grounds.\u003c\/p\u003e\n \u003cp\u003eWorking at such a breakneck pace, there was no time to nitpick, to dissect, to overanalyze. 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The album defined of Montreal's career and continues to be hailed as a classic.\u003c\/p\u003e\u003cp\u003e\u003ci\u003ePitchfork\u003c\/i\u003e called the album \"Ceaselessly fascinating and inexhaustibly replayable,\" honoring it with \"Best New Music\" and placing it in the Top 5 albums of 2007.\u003c\/p\u003e\u003cp\u003eWith \u003ci\u003eHissing Fauna, Are You The Destroyer?\u003c\/i\u003e, of Montreal has created its masterpiece. It is an irresistible and remarkable album, sounding like a logical extension of the erratic indie-disco sounds of \u003ci\u003eThe Sunlandic Twins\u003c\/i\u003e.\u003c\/p\u003e\u003cp\u003eHowever, \u003ci\u003eHissing Fauna\u003c\/i\u003e is also the most personal of Montreal album to date, with Kevin Barnes, lead of Montreal songwriter, pouring tremendous amounts of emotion, heartbreak, frustration and elation into its twelve tracks.\u003c\/p\u003e\u003cp\u003eWritten and recorded primarily during what they call \"an insane year,\" \u003ci\u003eHissing Fauna\u003c\/i\u003e sees Barnes adopt a new writing style. 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I wanted to become something glamorous and playful because I was suicidal and miserable. I wanted this character to be as far removed from my real life as possible. So many of my heroes are Black musicians and artists, so I made my writing persona Black. This writing persona was also Trans. Inhabiting this Trans persona actually helped me discover that -even before I knew the term for it- I have always identified as Non Binary.\u003c\/p\u003e\n\u003cp style=\"margin-left: 0px;\"\u003eAt the time I had no idea the extent to which Black Trans people are victimized in this country and throughout the world. I definitely did not realize that I could have been contributing to this harm just by playing a character in my head. I didn’t have a lot of personal knowledge of Black Trans life so I relied on cheap tropes to breathe life into the character. The problem is that these tropes and stereotypes created a gross mischaracterization of Black Trans life to the point that it could seem like mockery.\u003c\/p\u003e\n\u003cp style=\"margin-left: 0px;\"\u003eIt’s important to me that people understand that I'm cognizant of what is problematic about Georgie Fruit. I apologize to anyone who was hurt or misrepresented by Georgie. It definitely wasn’t my intention to create more pain in the world, especially for our most vulnerable friends. I regret giving Georgie a race and gender, and I know now that the term She-Male is a deeply offensive slur to Trans people so I have decided to remove that lyric from my song “Wicked Wisdom” on all future pressings and streaming sites.\u003c\/p\u003e\n\u003cp style=\"margin-left: 0px;\"\u003eObviously so much has changed since the early 2000s, and I’ve changed with it. I’m happy to see the way things have changed, even if this new perspective casts a harsh light on my past mistakes.\u003c\/p\u003e\n\u003cp style=\"margin-left: 0px;\"\u003e-Kevin\u003c\/p\u003e\n\u003cp style=\"margin-left: 0px;\"\u003e---------\u003c\/p\u003e\n\u003cp style=\"margin-left: 0px;\"\u003e\u003ci\u003eSkeletal Lamping\u003c\/i\u003e may be bizarre, complicated, and dense, but it's also extremely catchy and packed with slinky grooves that demand a physical response. Instantly ingratiating hooks abound as Kevin Barnes' compositions constantly mutate and shape-shift in ways that defy conventional pop song structure and album sequencing. Nevertheless, the record has its own internal logic, and its many tangents and detours feel entirely intuitive and organic in context. The movements mimic the shapeless, mystifying mingling of thoughts and emotions in the human mind, so even the most deliberately jarring transitions evoke a sudden shift in attention that is recognizable and commonplace, but rarely emulated in mainstream music.\u003c\/p\u003e\n\u003cp\u003eThough \u003cstrong\u003eof Montreal\u003c\/strong\u003e have never been strangers to expressing sexuality in their music, \u003ci\u003eSkeletal Lamping\u003c\/i\u003e finds Barnes fully immersed in the topic. Throughout the record, sexuality is presented as a broad continuum encompassing a wide range of experiences, anxieties, emotions and orientations. Barnes openly explores sex and gender roles without insecurity. They attempt to bring all of their fantasies, and terrors, to the surface, so as to better understand the machinery behind them. In \u003ci\u003eSkeletal Lamping\u003c\/i\u003e, Barnes argues that identity is fluid, malleable, and limited only by one's imagination.\u003c\/p\u003e\n\u003cp\u003eThe CD packaging is a completely unique 32-panel fold-out\/pop-up art piece by David Barnes and Gemini Tactics. \u003c\/p\u003e\n\u003cp\u003eThis is a part of the \u003ci\u003eSkeletal Lamping \u003c\/i\u003eCollection.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSkeletal Lamping\u003c\/i\u003e existed in seven different packaging formats: CD, LP, T-shirt, tote bag, button set, paper lantern, and wall decals. 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I became \"Simulated Reality\" paranoid and I fell in LOVE.\u003c\/p\u003e\u003cp\u003e Well a lot more happened during the process of writing and recording, but those are the two big ones. I also reached a healthy point of self-forgiveness for my failed marriage and became deeply educated in the lies of America the Great.\u003c\/p\u003e\u003cp\u003e I feel like a switch was recently turned on in my brain and now I'm beginning to see through the lies that have been fed to me my whole life by the masters of media and by those who control and manipulate the narrative of our cultural identity and social order.\u003c\/p\u003e\u003cp\u003e My paranoia began during the presidential election cycle and reached a dangerous peak shortly after the inauguration. In the meantime I watched and read countless works of art in a mad effort to be reminded of how many truly brilliant people there are living\/struggling among us and to try to maintain a positive outlook. The works of Angela Davis, Noam Chomsky, Chris Kraus, Ta-Nehisi Coates, and the Autobiographies of Malcolm X and Mark E Smith were all great inspirations, to name a few.\u003c\/p\u003e\u003cp\u003e Musically, I was very inspired by the extended dance mixes that people used to make for pop singles back in the ‘80s. It's so cool how a lot of the 80's hits had these really intricate and interesting longer versions that wouldn't get played on the radio and could only be heard in the clubs. I used that template with these tracks, I wanted them all to feel like the extended \"club edit\" of album tracks.\u003c\/p\u003e\u003cp\u003e I also decided to abandon the \"live band in a room\" approach that I had been using on the recent albums and work more on my own or remotely with collaborators. I used the same drum sample packs throughout because I wanted the album to have a rhythmic continuity to it. 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Kevin and Christina discuss taking ecstasy as couple’s therapy. Kevin and Christina break down and then reconnect. The new love we heard about on the last \u003cstrong\u003eof Montreal\u003c\/strong\u003e record, \u003ci\u003eWhite is Relic\/Irrealis Mood\u003c\/i\u003e, is settling. If that was the falling-in-love record, then this is the staying-in-love record. That was the easy part; this is the interesting part, the challenging part, the next chapter of Kevin Barnes’ autobiographical album streak, \u003ci\u003eUR FUN\u003c\/i\u003e.\u003c\/p\u003e\u003cp\u003eThe public diary that started with of Montreal’s classic album \u003ci\u003eHissing Fauna, Are You The Destroyer?\u003c\/i\u003e has continued into a growing string of increasingly personal works. On \u003ci\u003eUR FUN\u003c\/i\u003e, Barnes is more candid than ever, presenting ten concise electro-pop songs that expose the depths of their current life, their private thoughts—both optimistic and brooding—and their passionate relationship with songwriter Christina Schneider of Locate S,1. This ramped-up vulnerability has inspired Barnes to strip their stage persona of costumes and drag, just appearing as themself on recent tours for the first time in many years.\u003c\/p\u003e\u003cp\u003eAfter several albums recorded with collaborators and various band members, Barnes opted to record this one completely alone. In their home studio in Athens, Georgia, Barnes isolated themself in creative hibernation, working obsessive 12-plus hour days arranging manic synth and drum machine maps on a computer screen with bouncy, melodic basslines, glam guitars and layered vocal harmonies. Inspired by albums like Cyndi Lauper’s \u003ci\u003eShe’s So Unusual\u003c\/i\u003e and Janet Jackson’s \u003ci\u003eControl\u003c\/i\u003e, Barnes set out to make \u003ci\u003eUR FUN\u003c\/i\u003e into the kind of album where every song could be a single, complete with huge hooky choruses and nostalgic dance grooves. The result is an unstoppably fun album that could also pass for a carefully sequenced greatest-hits collection if taken out of context.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eUR FUN\u003c\/i\u003e contains a fundamental contradiction that will be familiar to of Montreal fans. The songs have a youthful, contemporary dance-pop feel, but contain dense, multidimensional, adult lyrics. 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In the same manner that Barnes’ lyrics turned thousands of listeners onto the obscene French novel \u003ci\u003eThe Story of the Eye\u003c\/i\u003e in the past, \u003ci\u003eUR FUN\u003c\/i\u003e packs nods as diverse and obscure as the films of Itallian horror filmmaker Mario Bava, queer novel \u003ci\u003eHorse Crazy\u003c\/i\u003e by Gary Indiana, Panamanian pop star El General, 80’s sci-fi movie \u003ci\u003eLiquid Sky\u003c\/i\u003e, Big Star’s cover of “Femme Fatale,” French death metal group Death Throne, and Caetano Veloso’s beautiful rendition of the Mexican love song “Cucurucucú Paloma”, to name just a few.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eUR FUN\u003c\/i\u003e’s final moments bring the self-examination of the record full circle with some darker numbers that lament a lost friendship and slips of mental clarity. If the album’s bleak ending leaves you feeling hopeless, flip the record over again and remind yourself “Hush, hush, don’t let’s be negative.” This is all for fun after all.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cblockquote\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eAll songs written by Kevin Barnes.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eAll instruments and vocals by Kevin Barnes. Backing vocals by Christina Schneider.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eEngineered, Produced \u0026amp; Mixed by Kevin Barnes at Sunlandic Studios.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eMastered by Mike Nolte.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eArt Direction by Kevin Barnes and Christina Schneider.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003ePhotography by Christina Schneider.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eDesign \u0026amp; Packaging Layout by Jerrod Landon Porter (\u003c\/span\u003e\u003ca href=\"https:\/\/www.instagram.com\/iheartjlp\"\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eInstagram\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003e | \u003c\/span\u003e\u003ca href=\"https:\/\/iheartjlp.com\/\"\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eWebsite\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003e).\u003c\/span\u003e\u003c\/p\u003e\n \u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Red)","offer_id":50818997190963,"sku":"PRC-394LP","price":22.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50818997223731,"sku":"PRC-394CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":52708195172659,"sku":"PRC-394DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/f2671992766736eaee5018a1de716c86_3354b1e83e9f91c8743d5bcf623d5d095256c0b0_product_photo.jpg?v=1740028202"},{"product_id":"of-montreal-hissing-fauna-flag","title":"of Montreal - Hissing Fauna Flag","description":"\u003cp\u003eThe iconic cover art from \u003ci\u003eHissing Fauna, Are You the Destroyer?\u003c\/i\u003e is now available as a unique 48\" x 48\" banner.\u003c\/p\u003e\u003cp\u003eFeatures metal grommets in all four corners so you can hang it easily wherever you want!\u003c\/p\u003e","brand":"Polyvinyl Accessories","offers":[{"title":"48\" x 48\"","offer_id":50774519972147,"sku":"PRC-FLAG1037","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/d1cf73b10d8a3852e32dd368b8c5c2d11b5b5a07_0e5877eedfac755ac8bfc706d5dfcd864078f6d7_photo_jpg.jpg?v=1735838767"},{"product_id":"of-montreal-freewave-lucifer-f-ck-f-ck-f-ck","title":"of Montreal - Freewave Lucifer f\u003cck f^ck f\u003eck","description":"\u003cp\u003e\u003cspan\u003eWhen creators f\u0026lt;ck with how we experience time and space, great fictions emerge: Clive Barker's \u003ci\u003eImajica\u003c\/i\u003e, Andrei Tarkovsky's sci-fi classic \u003ci\u003eSolaris\u003c\/i\u003e, and Godard's \u003ci\u003eAlphaville\u003c\/i\u003e. But what happens to artists when the flow of time gets f^cked up IRL? When an hour stretches into eternity, and the voices in your head begin to echo through empty rooms? \u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan\u003eIf you’re Kevin Barnes, the creative visionary behind \u003cstrong\u003eof Montreal\u003c\/strong\u003e, \u003ci\u003eFreewave Lucifer f\u0026lt;ck f^ck f\u0026gt;ck\u003c\/i\u003e happens. \u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan\u003eIsolation and uncertainty loomed throughout the genesis of the band’s latest studio album. “The experience of just trying to keep my head above water and navigate through the last couple years played a huge role in this record,” says Barnes.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan\u003eThese expansive selections contrast markedly with the focused pop of 2020’s \u003ci\u003eUR FUN\u003c\/i\u003e, which was crafted for visceral thrills and the concert stage. As it was for countless musicians around the world, the inability to tour eliminated one of the linchpins of Barnes’ creative process. “I didn’t know if we’d ever tour again, so I didn’t consider that side of things.” Denied social interaction and diverse experiences, Barnes delved inward.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan\u003eBarnes contemplated how time functions in music and experimented accordingly. These new songs, dense with ideas but short on repetition, feel epic in scope despite reasonable running times. Like the staircases of M.C. Escher’s \u003ci\u003eRelativity\u003c\/i\u003e, the discrete sections of “Marijuana’s A Working Woman” and “Blab Sabbath Lathe of Maiden” crisscross and pivot, confounding the senses yet commanding attention. \u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan\u003eThe imagery and sentiments that bubble forth from Barnes’ lyrical wordplay prove equally disorienting. \u003ci\u003e“Is it important to say black chrome rodents?,”\u003c\/i\u003e asks Barnes on “Après The Déclassé.” Phrases borne of free association took on new meaning when introduced into a song. “It’s like collaborating with my subconscious in a way. It feels deeply personal, even though I don’t necessarily understand it at that moment.” \u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan\u003e“Marijuana’s A Working Woman'' juxtaposes oddball funk a la Zapp or Rick James with nods to Alice Anne Baily’s 19th century spiritualism. “Modern Art Bewilders” zigzags between baroque psychedelic idyll and synthpop tantrum, equal parts \u003ci\u003eSgt. Pepper’s\u003c\/i\u003e and Gary Numan. Other influences woven throughout include realist painter Edward Hopper, fantasy author Ursula K. Le Guin, cinéaste Pedro Almodovar, and erotic illustrator Toshio Saeki. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBarnes likens their compositional process to making collages from seemingly unrelated source materials, combining them in provocative ways to reveal new meanings. “I wasn’t working with specific themes that I wanted to try and stretch over a three-minute pop song. 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