The synthpop of UR FUN make it the most accessible of Montreal in some time, though longer-term fans may be less easily impressed.
If you’ve ever listened to of Montreal before, their sixteenth (!) studio album UR FUN might look a little suspicious at first, like it’s the product of a completely different artist. First off, the title: of Montreal’s three most recent releases were titled White is Relic/Irrealis Mood, Innocence Reaches, and Aureate Gloom. The band’s frontman/sole consistent member, Kevin Barnes, is known for his obscure literary allusions and high-end vocabulary. The title “UR FUN” sticks out like a sore thumb in their dense discography. Second, the artwork: of Montreal’s past albums all had colorful, cartoonish covers drawn by Kevin’s brother David Barnes. As you can see above, UR FUN is quite a departure. It’s the first of Montreal album to feature a photograph on its cover, and also the first to feature Kevin Barnes in any form.
Just as you shouldn’t judge a book by its cover, UR FUN is full of familiarities despite its unfamiliar trappings. It’s of Montreal’s most brazen attempt at pop in some time, coming on the heels of the layered White is Relic/Irrealis Mood and the see-what-sticks approach of Innocence Reaches, but continues these albums’ pivot towards electronic music. Its concise and straightforward tracks also make it the most accessible of Montreal in some time, though longer-term fans may be less easily impressed.
Of Montreal have long been described as “indie pop,” which sounds oxymoronic at first. However, there’s no questioning their “indie” status, and their typically upbeat melodies and hook-laden songs make them as “easy on the ears” as anything else you’d find on the top of the charts. UR FUN shows off a newfound knack for this approach, and it has some of their simplest, sweetest melodies since the early 2000s. The standout “Don’t Want to Die in America” is built around three power chords, and combines the sound of David Bowie’s “Suffragette City” with the sentiment behind Foxygen’s “America.” It also might be the only song I can think of that namedrops US cities like Morgantown, WV and Worcester, MA. Similarly, UR FUN’s closing track “20th Century Schizofriendic Revengoid-man” is of Montreal’s most guitar-heavy track since 2015’s Aureate Gloom, and its shreddin’ solo might be the biggest curveball on the album.
Aside from these tracks, UR FUN uses guitar somewhat sparingly, and instead embraces the electronic sound of its preceding releases. This combines with the album’s tighter pop songwriting to deliver of Montreal’s neatest synthpop tracks yet. “Peace to All Freaks” kicks off the album with an alluring keyboard melody over snare drums, while the neurotic “Polyaneurysm” quickly becomes an earworm with its sunny-sounding bridge and a non-chorus of “ay, ay, ay.” Both tracks have a palpable 80s sound to them, which is understandable given that Barnes cited Cyndi Lauper and Janet Jackson as inspirations for UR FUN. This also means that there’s indeed some kitsch on the album, best heard on the glitzy “Gypsy That Remains.” There’s chime-like synths, deadpan singing, and even guest vocals by Barnes’ girlfriend Christina Schneider (of Locate S,1). Rehashing 80s synthpop in a now–saturated market is a risky move, but of Montreal pulls it off.
Hearing these bright and glossy triumphs has the unintentional effect of making other parts of UR FUN seem less thrilling. The double-tracked vocals on “Carmillas of Love” don’t stop it from sounding monotonous, and the muted tone of “Deliberate Self-Harm Ha ha” is an awkward fit for such pop-oriented album. “You’ve Had Me Everywhere” should be the climax of the album – and it is a solid pop number to be sure – but its reliance on Barnes’ vocals instead of synthesizer or guitar results in a weaker melody. At other times, of Montreal’s musical tricks can feel a little played out. “Get God’s Attention by Being an Atheist” has noticeable dynamic shifts, complete with a meta shout of “we want it louder!” during its explosive chorus, but we just heard this quiet-loud technique on Innocence Reaches’ “My Fair Lady.” Any musical act will struggle with originality over time, making of Montreal’s extreme prolificacy both a blessing and a curse.
If you thought naming an album UR FUN meant Barnes would be stepping back from his usual lyrical fare of esoteric references and ten-dollar words, you’d only be half right. The single “Polyaneursm” captures this well; it’s almost shocking to hear Barnes use phrases like “insta-fame,” “IDK,” and “the tea,” but his comparison of a relationship to 80s arthouse film Liquid Sky is refreshingly expected. Most of the time, this contrast is between songs rather than within them. “Peace to All Freaks” has a readily comprehensible message of not losing hope in dark political times, while “You’ve Had Me Everywhere” might be Barnes’ most candid love song, with a chorus of “listening to your heartbeat, realizing it’s my heartbeat too.” On the other end of the spectrum, you have tracks like “St. Sebastian,” which references both Sylvia Plath’s “The Bell Jar” and Maurice Ravel’s composition “Boléro.” “Carmillas of Love” is also among of Montreal’s most allusion-dense songs ever, and a line like “La Morte Negli Occhi Del Gatto, or literally any Mario Bava” speaks for itself.
On its own, UR FUN is an enjoyable little album that showcases Kevin Barnes’ ear for pop songwriting. As of Montreal’s sixteenth album, this is less of a landmark, considering you can have your pick of brilliant pop releases from their back catalogue. It also doesn’t help that the ambitious White is Relic/Irrealis Mood has held up exceptionally well, making it a tough act to follow. UR FUN lives up to its title as a breezy synthpop album that is above all fun, but when haven’t of Montreal been fun?
You must be logged in to post a comment.