of Montreal

of Montreal

Lyrically, Paralytic Stalks contains confessions of an infinitely more personal nature than anything Kevin Barnes has written since 2007's Hissing Fauna, Are You the Destroyer?
Amidst dark ruminations on human existence, revenge, self-hatred, and his relationship with wife Nina, one encounters an emotionally raw Barnes struggling to contain his savage thoughts: "So much violence in my head / How are we still alive?" ("Authentic Pyrrhic Remission").
And though it's easy to become totally immersed within the captivating power of such revelations song after song, focusing only on the lyrics would prevent you from fully comprehending the true depth of Barnes's work.
Because in a different, yet equally enthralling manner, Paralytic Stalks's musical dimension proves itself similarly worthy of preoccupation.
For on a sonic level, the album -- recorded at Barnes's home studio in Athens, GA and mixed at Chase Park Transduction with the assistance of engineer Drew Vandenberg (Deerhunter, Toro y Moi) -- is a stimulating array of densely packed ideas presented with stunning agility.
Never before has an of Montreal record moved so fluidly from one song to the next -- each track feeding off the last in what seems a singular album-long movement that never allows you to rip your ears away.
As a result, Paralytic Stalks at times resembles modern classical with its intricate compositions, while at others echoes of neo-prog, pseudo-country, and 60s pop can be heard.
Examples of these new elements abound throughout the record, notably on "Wintered Debts," which witnesses its hushed vocal and acoustic guitar intro giving way to a country shuffle replete with pedal steel guitar, as well as the flute-driven, ELO-inspired single "Dour Percentage."
Conceived on the fringe of a contemporary pop music landscape that seldom encourages listeners to dig beyond the surface level to receive satisfaction, Paralytic Stalks is the rare album with the audacity to DEMAND such a response.

Nedelle Torrisi

The new, self-titled, self-released solo album of Nedelle Torrisi is scheduled for a September release, and it's a fresh start in more ways than one. After a career of acclaimed collaborations—recording as half of Cryptacize or a member of The Curtains, or touring with Sufjan Stevens—and solo work as simply "Nedelle," Nedelle Torrisi is Torrisi's first record under her own full name. Its pared-down R&B style looks back to the radio hits of her childhood, like young Sade or classic Prince, that managed to combine the innocence of youth with a knowing worldliness. It also represents the fruition of her musical partnership with friend, housemate, and now, producer Kenny Gilmore (Ariel Pink). With the help of collaborators as stellar as Ramona Gonzalez (Nite Jewel), Julia Holter and Dev Hynes (Blood Orange), Gilmore also plays most of the instruments that drive the album's bright, cool soundscapes. There's also a bonus acoustic EP of Torrisi's takes with piano accompaniment, to put the focus more squarely on Torrisi's literate songwriting and a voice the New York Times called "guileless…an earnest instrument of pleasure and petition." Before it became self-titled, Torrisi began recording this project under the name "Paradise," and it's easy to hear why. Nedelle Torrisi's melancholy pop encapsulates at once the bittersweet nostalgia for an Eden lost and the longing for a heaven just out of reach.

$19.00 - $22.00

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