Feb 06 2012
∞
“ The words “personal” and “dark” have been referenced in Paralytic’s promotional lead-up, but without a lyric sheet, it’s nearly impossible to tell that Barnes is singing about anything, save for the surprisingly straightforward “Malefic Dowery”, which goes back to the the subject of infidelity. I don’t doubt that this is a personal album for Barnes, but on Hissing Fauna, that was obvious— all you had to do was listen. Here, we’re left sorting through lyrics like, “True love never mattered/ The two donkey jaws that were removed from our hearing.
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This is a really frustrating paragraph and reminds me strongly of the Klosterman/tUnE-yArDs stuff. I put on the album (which is still growing on me, and I agree with TMT is his best since Hissing Fauna) as I was reading this, and I don’t understand how he could be confused as to what Kevin is singing about, even from the first real song. “Nothing happens for a reason/There’s no point even pretending/You know the sad truth as well as I.” Seems pretty clear to me? (via likeapairofbottlerockets)
Agree, plus a provocation: Are heterosexual male critics now entirely incapable of engaging with of Montreal at this point, due to the abnormally high concentration of gender confusion and emotional honesty being expressed by one of their own?
