of Montreal

of Montreal

Foxygen, French Horn Rebellion

Fri, December 14

8:00 pm

of Montreal - (Set time: 10:45 PM)


Two important events occurred during the making of White Is Relic/Irrealis Mood . I became "Simulated Reality" paranoid and I fell in LOVE.

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.

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.

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.

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.

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. I wanted the drums to have a strong and consistent identity, similar to how Prince's Linn Electronics LM-1 drum machine played such an important role on his classic albums. Zac Colwell also played a huge role on this album, adding saxophones and synths to most of the songs. I also got a lot of help from long time collaborators, and "of Montreal" touring members, Clayton Rychlik and JoJo Glidewell.

The two title concept came to me when I was thinking about how difficult it is to frame the message of a song with just one title, because so often the songs are about so many different subjects. ‘White Is Relic’ was inspired by James Baldwin’s writings regarding the creation and propagation of a toxic American White identity. I've come to learn how it's just a tool wielded by the 1% to give poor white people a false sense of superiority in an effort to keep the masses placated and numb to how deeply we're all getting fucked by our capitalist rulers. An ‘Irrealis Mood’ is a linguistic indicator that something isn't yet reality but does have the potential to become so.

I'm always searching for new identities so this concept of the death of "Whiteness" appeals to me greatly. Might be the only way to save the world.

-Kevin Barnes, January 2018
Foxygen - (Set time: 9:45 PM)


Foxygen and Star Power is the Los Angeles songwriting duo of 24-year-olds Sam France and Jonathan Rado. In May 2011, France and Rado nervously handed off a CD-R of this homemade mini-opus Take the Kids Off Broadway (Jagjaguwar, 2012) to producer and visionary Richard Swift after his performance in a Lower East Side club. The duo, who had just mixed and burned the disc that very night, had been devotees of Swift’s outsider-pop oeuvre since high school, when they first began recording their own pubescent forays into oddball rock n’ roll (At least a dozen records were finished before they graduated high school).

Foxygen left the venue that night unsure whether Swift would truly listen or sling the disc into a dumpster on his way out. You’re reading this right now because Swift did listen. In fact, he fucking flipped for Foxygen’s bugged out, esoteric majesty and called upon them immediately to say as much. Eight months later, Foxygen was holed up for a week-long recording session at Swift’s neo-legendary National Freedom studio, creating what became their breakthrough, We Are the 21st Century Ambassadors of Peace & Magic (Jagjaguwar, 2013), a precocious and cocksure joyride across California psychedelia.

2013 saw the mercurial success of 21st Century, and with it, heightened demands for tour planning, added press days, demands on resources, the sacrifice of personal relationships, and the indefinite delay of recording plans. The quick-fire success made for an altogether turbulent 2013 for the band. Foxygen’s always captivating live performances shifted from eruptive to sometimes frightening — and then, just put on ice altogether. But at the close of 2013, France and Rado found secret sanctuary in their new studio, Dream Star, and holing up in some of LA’s most famous hotels for more recording. Writing music together is what their friendship has always thrived upon. At Dream Star in the northernmost passage of LA’s valley, they reformed as a punk band called Star Power. And the result, the svelte, 82-minute …And Star Power, is a morphing, splice-and-paste journey through soft rock indulgences, psych-ward folk, cartoon fantasia, D&D doomrock, and paranoid bathroom rompers. Foxygen, now expanded into a 9-piece touring machine as Star Power, calls the album “a cinematic, auditory adventure for the speedy freaks, skull krunchers, abductees, and misfits…the radio station you can only hear if you believe.”
French Horn Rebellion - (Set time: 9:00 PM)
French Horn Rebellion
Written, produced and mixed by brothers Robert and David Perlick-Molinari, The Infinite Music… is a debut album that warps the fabric of dance, electro, rock and funk and may just turn out to be a contender for this year’s most ambitious, multi-faceted and engaging debut album. Crucially, the album also follows an intergalactic narrative that tracks the physical and emotional journey of an unknown French horn player. “There is a story running through the album, it’s about the Universe. We’re pretty clear on what the story is, but what you take away from it may be something entirely different,” says David.


The Brooklyn-based duo already had an illustrious pedigree; David produced MGMT's indie release, Time to Pretend EP for New York indie Cantora Records, and with previous single “Up All Night” they scored a Record of the Week on BBC Radio 1 and an opening slot on the influential Kitsuné Maison compilation series. The band have also remixed the likes of Sleigh Bells, JD Samson & MEN, Two Door Cinema Club, OMD and Alex Winston.
Venue Information:
9:30 Club
815 V St. NW
Washington, DC, 20001
http://930.com