October 24: Of Montreal, Janelle Monae

There are no bad things that can be said about a show that is rich in theatrics, costume changes, tricks of lighting, giant fake television set-pieces and ends with a medley of good Michael Jackson covers. When two acts are so relentlessly active, so evocative, as Of Montreal and Janelle Monae were on Sunday night, they inject life into an audience that cannot be ignored, or perhaps more creepily, resisted. I attended this show primarily for the opportunity to witness Janelle Monae in person. I quickly hopped on that bandwagon; addicted to her bright, soulful vocals and songs that are fraught with a fantasy-sci-fi combo that is remarkably poignant as social commentary (and also exceedingly self-aware). Monae is a purveyor dance, fun music, that extends beyond its own mold of merely providing a beat to say more about the nature of love, and the way our world oppresses us at our own hand. Of Montreal is a band I have loved, specifically for Hissing Fauna, Are You the Destroyer? and 2008's Skeletal Lamping, over the last few years. I had read a lot about them and heard a great bit of anecdotal accounts of their live performance, but I had never seen the chaos myself. After seeing, Of Montreal is a sort of "bucket list band" that I'd recommend seeing live, preferably in their current prime, before dying.

The show began with Monae's face, dressed as her character the ArchAndroid, was projected above the stage. After a brief exposition, to drive the compelling story of sci-fi robo-oppression, she cried to the crowd, "There is only one rule tonight: Dance or die." And dance we did. Monae performed close to half the songs on her new album, hitting the highlights of "Cold War," "Tightrope," and "Wondaland." The show was pure energy, fueled by drama and motion. And costumes. Monae appeared initially as one of three cloaked figures. Facing away from the stage she began her first number, and in time, the hood came down to reveal her trademark pompadour, and from there her performance was lively, powerful and loaded with sharp footwork. Often, instead of back up dancers, Monae was flanked by cloaked figures or masked creatures, each group playing into the active performance art of the song. Whether painting numbers in acrylic on a blank canvas, live, throughout a soulful lament, or "gunning down" oppressive figures with her finger-guns, the show was all about activity. The fact that she wasn't the headliner was disappointing, if only because it would have meant a few more stolen moments in her presence. Also, she might've played "Oh, Maker" or "Come Alive (War of the Roses)."

After Monae, Of Montreal upped the ante on the performance art end of things. Singer Kevin Barnes appeared on stage wearing tights, a sort of skirt-apron hybrid, a frilled shirt and a vest. Truly, this is a sight to behold, even if you don't like/love their music. Again, it's the energy factor. Barnes and the whole band are working at full, break-neck speed. And that's even before a sequence of costume changes and guest appearances to the stage. Like Monae, Of Montreal had groups of characters roaming and populating the stage. Notably a pair of pigs, a man and a woman in pink bodysuits, wearing pig helmet-masks. Barnes and the woman pig share a sensual, and brilliantly vivid grind-session, at least until the man pig grows jealous, setting the stage into chaos as Barnes continues to narrate and attempts to escape the angry beast. Ultimately, the skit (if I can call it that without sounding like an asshole) is a about polyamory, among other things that may be weird or "evocative," and it is all well executed. Other highlights included aliens with fish-heads, bullet/vibrator-headed robots, and a group of asexual checkered body-suit clowns. And really, this only gives you a rough idea of the whole experience. Of Montreal is like Cirque du Soleil, as depicted in the mushroom-trip-scene in the film Knocked Up, but better.

And that doesn't even cover the musicianship, the vocals and the fact that the band makes you want to dance. Or that they closed with an encore consisting of "Thriller," "Wanna Be Startin' Somethin'," and "P.Y.T. (Pretty Young Thing)," which is possibly one of the most excellent uses of the cover-song close that I've witnessed. This was a show that was technically exceptional and irreplaceable as an experience. Should you get the chance to see either band, or both, to bear witness to their unique, united spectacle, then take it. Go, see the magical oddities and strange fantasies unfold because you're really getting 4 shows in one (Monae + theatrics + Of Montreal + circus maximum = 4 SHOWS).

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Magic Kids - Memphis

I first became acquainted with Magic Kids back in February when they opened for Girls at the Bluebird in Denver. What I wrote then about the energy, geeky-excellence and pop-fueled throwback music applies fully and truly to their new release Memphis. The disc is a charming mishmash of '50s- and '60s-influenced pop rock, that falls into somewhat predictable, if always delightful, standard song structures. This music is by no means experimental or entirely new, but to dock Magic Kids praise for grasping their influences so well that they've created their own collection of satisfying music would be unfair. The band's use of sleigh bells, piano, harmony, horns and steady drumming leads to an album that has a certain instant appeal. Sure, in a way, this music is a lot like the earlier work of the Apples In Stereo mixed with surf-rock tendencies, but it seems that several pop artists reach great heights by peddling the wares of their predecessors (Lady Gaga, Britney, Katy Perry, et al.). What Magic Kids does well if bring child-like wonder and honesty to these songs. This is sweet, timeless music, that shows maturity sporadically in the lyrics, but never tries to push harder than necessary to serve its point. And there is something beautiful about an album that is complete, nostalgic and enjoyable running out songs that average about 2 and half minutes each. This is highly consumable, and delicious.

The opener, a poignant user of sleigh bells and violin called "Phone" starts the album on a bright note that contrasts the pseudo-sadness within the track. It's about waiting by the phone for a love to call, but the song sells itself as the picture of happiness and energy through upbeat delivery. "Candy" comes next, with beautiful female vocal backing harmonies and a touch more fuzz bringing contemporary flair to an elementary pop track. And then there's the single "Superball." It's another track about love, using the toy as a metaphor for the bouncing around and novelty in games of the heart, but despite its catchy-ness, it has a tendency toward grating. Magic Kids do a great job dialing it back after these quick openers. The next two tracks, "Hideout" and "Summer" both create the kind of rock "slow dance" songs you'd expect in the 1950s of remade a Back To The Future. Both play on the sadness and sweet, simple romance. But "Summer" ends in a solid and interesting break-down that caps the song perfectly. These are songs that feel like one part the Beatles, one part Big Star, one part early Beach Boys. "Hey Boy" is a strong call-and-response track with the perfect touch of old styling to precede the catchy, but easily discarded "Good To Be."

Then "Skateland" comes and brings out all the dramatic, theatrical touches, loaded with piano and strings, and a nearing disco beat, and then grinding electric guitar and synthesizer. This may be the most challenging, and experimental album on the record with its art-clumsy changes, but the frame remains largely the same by the end. "Sailin'" is a jazzy track, punctuated with piano and a sweet story of getting away by getting out to the ocean. It's about escape, and that's really the core of the album. Escape through enjoyment, and nothing seems quite so free as the music that started rock and roll, the music prior to the mass-jading of society. The album closes on "Little Red Radio" and "Cry With Me Baby": two strong tracks that put a cap on the nostalgia with the proper fuzz and bravado (the former) and the call-back to tradition with horns and quick, unadorned electric guitar riffs (the latter).

This is an album that is by no means perfect, but it is fun. And when you consider the effort involved in emulating bygone themes and styles, rather than trying to shatter molds, this is an album that is nothing but a success. At its worst, it's worth a some casual internet listening and at its best, it demands ownership and replay. This is a sort of sonic photograph of youthful goodness that's worth capturing.

Score: 7.5/10

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Chromeo - Business Casual

Chromeo returns with a delectable '80s-driven collection of songs that could have easily come from dance montage and strutting scenes in a pseudo-John Hughes movie. Business Casual rides a heavy dose of synthesizers and Casio-keyboard style electronic beats to create uniquely (if homage-heavy) textured dance tracks. And several times, an original song has just enough in common with an at least somewhat recognizable '80s staple that it's impossible not to latch on purely out of nostalgia. At their best moments they capture the musical eloquence of LCD Soundsystem without the vulnerability and honesty, and at their worst the music is simply fun, unadorned by any life-changing lyrics or mind-blowing electronic work. They do take chances, don't mistake that, but some of the chances seem like variations on a chance previously taken. Business Casual is a great album, loaded with catchy hooks, and delightful music. It puts Chromeo on par with a personal favorite of mine, Cut Copy, and this band succeeds through a consistent and well-paced collection. And Chromeo willfully calls back to electronic music's past, reaching out to Daft Punk and to a lesser extent the sweet beginnings of Erasure.

The track opens with the soundtrack-y "Hot Mess," which effectively blends a Bravo/internet meme and turns into a song you could see Molly Ringwald putting on 11 bracelets and a veil to. "I'm Not Contagious" brings in more vocal manipulation, giving it the vibe that robots are on the way, and they want to dance. The lyrics are fairly cliche, but it's a love song built around getting the girl through the charmingly touch-in-cheek titular claim. "Night by Night" is maybe the most solid track on the album, leading with a slightly altered "Eye Of The Tiger"-like riff, and building into a delightful dance refrain that grows progressively more electronic. The same praise can be foisted up on "Don't Turn The Lights On," which has the best and most original lyrics on the album, with a sweet Junior Boys'-esque vulnerability and delicacy. "You Make It Rough" is central opus, invoking growling vocals and numerous changes over 7 minutes. It also features a breakdown that occurs about 5 minutes in is both entrancing and disorienting. On "When The Night Falls" they tread back into the Junior Boys territory, decorating a smooth, faux-R&B track with fast-talking calm lyrics and climbing xylophonic garnishes. "Don't Walk Away" is a bit bland, but it leads to "J'ai Claque La Porte" and the French track's soft, rhythmic lyrics that seem here to use the vocals, more than anywhere on the album, as an instrument in and of themselves. The album closes relatively strong, but also relatively uninspired. "The Right Type" feels like an '80s television show theme that plays over the expository title and cast-credit screens (think: Perfect Strangers). And "Grow Up" is sort of a bland closer that feels simply like Chromeo ran out of gas after 7 and half great tracks.

If you are a fan of any of the bands to which I compared Chromeo's Business Casual then this is a must-have. The album holds its own and feels fresh, and while it doesn't specifically reward re-listening, it is definitely built to hear over and over without becoming tired. This won't change your life, but it will make a for a solid party, and maybe some good psyche up music as you approach the work day. And it's all catchy enough that you're sure to get a few of these tracks stuck up in your brain zone.

Score: 7.5/10

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