They were among the second wave of groups to emerge from The Elephant 6 Recording Company and the group has a style that is typical of many Elephant 6 bands due to their interest in combining musical experimentation with the basic tenets of pop i.e. catchy melodies and sing-along choruses. The band’s style has been influenced by conventional indie pop, psychedelic music, vaudeville and music hall on their earlier releases and by afrobeat, funk, krautrock and reggae on their recent releases.
The band’s style has been known to change between albums. At first, the band embraced a more simple, quirky, lo-fi indie pop sound, which occasionally bordered on twee pop. The band was created by Kevin Barnes and named after a failed romance with a woman from Montreal, though the story changes in various interviews. Barnes was the only member of the “group” prior to his relocation to Athens, Georgia. There, he met Derek Almstead, later of Circulatory System, M Coast, Elf Power etc., and Bryan Poole, who also performs as The Late B.P. Helium.
Together, they recorded their first album, Cherry Peel, as well as The Bird Who Continues to Eat the Rabbit’s Flower and The Bedside Drama: A Petite Tragedy.
A number of singles and a re-release of The Bird Who Continues to Eat the Rabbit’s Flower occurred before the release of the band’s third album, The Gay Parade in 1999. With contributions from several members of the Elephant Six collective at the time, it also featured artwork from Kevin’s brother David Barnes, who would continue to do artwork for future albums.
This album marked that the band had moved to a fuller sound, which is also found on its follow-up, Coquelicot Asleep in the Poppies: A Variety of Whimsical Verse. These two albums contain more narrative lyrics, as opposed to the rather personal lyrical matter of those preceding it, and often imitating the style of old 1950s radio plays.
After production on The Gay Parade began in 1998, Poole left the band to focus on his duties with Elf Power, another Elephant Six band from Athens. Barnes also recruited Jamey Huggins and Dottie Alexander, who had been performing together as Lightning Bug vs. Firefly, to play various instruments. Derek moved from drums to bass. The band was joined soon after by Marshmallow Coast’s Andy Gonzales.
Following the release of The Gay Parade, the band signed with Kindercore Records, who would release a number of singles and compilations. It wasn’t until 2001 that Coquelicot Asleep in the Poppies: A Variety of Whimsical Verse would be released as a new album with original material. The album again featured contributions from across the Elephant 6 spectrum.
In 2002, Aldhils Arboretum was released, with a slightly different sound than its predecessors, as the songs were more directly structured. This album marks the beginning of the change in of Montreal’s sound, with more danceable rhythms than ever before, especially on the album’s closer, “Death Dance Of The Omipapas and Sons For You”. A successful tour ensued, including of Montreal’s first trip to the UK, along with a tour-only EP.
Kindercore Records would fold shortly after the release of Arboretum, and of Montreal’s status was also threatened. Kevin got married, and Andy and Derek left the band. Barnes, being uncomfortable with the unrest, as well as some divisions within the band, took to writing and performing their 2004 album Satanic Panic in the Attic mostly by himself. Released by Polyvinyl Records, it became one of their more successful efforts to that point. The 2004 tour saw The Late B.P. Helium (Bryan Poole) rejoin the band, with some bass played by Kevin’s partner Nina Barnes. The album marked a shift to something more electronic with traditional structures, to be further advanced in later albums and new songs. In their most recent releases and concerts, the band has fully embraced a sort of techno-pop glam image, with little of their previous incarnations surfacing. This style is featured in singles such as Disconnect the Dots. The style would continue to evolve into 2005’s The Sunlandic Twins, which was even more a Barnes solo effort. Recorded in Athens, with the exception of one track recorded in Norway, it was a much more pronounced electronic album. The album became a success, mostly due to the singles “So Begins Our Alabee” and the MTV clip for “Wraith Pinned to the Mist (and Other Games)”.
The band released several collections of singles in early 2006. Barnes recorded most of the band’s 2007 release, Hissing Fauna, Are You The Destroyer?, by himself while living in Norway and Athens, Georgia. The switch to autobiographical themes of suicide, depression and isolation of the album was a direct product of his troubled personal life during that period.
of Montreal released Skeletal Lamping on October 21, 2008 followed by False Priest on September 14, 2010, Paralytic Stalks on February 7, 2012, and Lousy with Sylvianbriar on October 8, 2013. Aureate Gloom is scheduled for release by Polyvinyl Records on March 3, 2015.
Lyrically, their style has changed dramatically throughout the years. In the beginning, many songs were narratives of personal or humorous situations, such as “Tim, I Wish You Were Born A Girl”, from Cherry Peel. This style, however, changed with The Gay Parade, where many songs involve small narratives surrounding invented characters (in songs such as “Jacques Lamure”, “The Autobiographical Grandpa”, “Mimi Merlot” and “Rose Robert”). Others act as extracts from fictional conversations (“Advice From a Divorced Gentleman to His Bachelor Friend Considering Marriage” and “Good Morning Mr. Edminton” as examples). With Aldhils Arboretum came a slight return to the previous writing style, except following more poppy, classical lyrical structures (such as the use of choruses, which are generally absent in the Gay Parade/Coquelicot years). This style continued throughout Satanic Panic and The Sunlandic Twins to some extent. On the album Hissing Fauna: Are You The Destroyer? the lyrics are much more personal than previously used, with songs detailing emotions within the speaker.
Another unique quality of the band is the fusion of ostensibly gloomy lyrics with bouncy, upbeat melodies and hooks. On Aldhils Arboretum, for example, the lyrics for tracks like “Doing Nothing” and “Old People in the Cemetery” focus on apathy, loneliness or death while being contrasted with cheerful instrumentation. Another example of this tendency is shown in their choice of covers; for example, Yoko Ono’s “I Felt Like Smashing my Head Through a Clear Glass Window” from The Bird Who Continues to Eat the Rabbit’s Flower.
True to the style of most Elephant 6 recording artists, of Montreal’s members have been in a variety of side projects and other bands:
The band itself has performed as the backing band for Marshmallow Coast on record and on tour.
My First Keyboard was the pseudonym used by Dottie Alexander to release the song “The You I Created” on the Kindercore singles club. of Montreal acted as her backing band.
Authentic Pyrrhic Remission
of Montreal Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
The depression is under control
(No it's not, don't you ever stop lying, damn)
I love how we're learning from each other
You are such a positive
You're so empowering
In your hands I'm quite simply a different instrument
You think that I'd forget so easily
You emit a charged autumnal vibe
I know we're of the same tribe
The fall's our most productive season
Still a crippling fear has become Caesar and we're slightly moribund
so, naturally I want to help you invoke the architect of salutary memes
Our heads are pregnant with divine mechanics but, oh, how we're tyrannized
By tentacles of their ferine stupidity and it's all so disappointing
(But you're different)
I love how we're learning from each other
You're so empowering
In your hands I'm quite simply a different instrument
And you're the only one that ever put money on me
And tried to advance trans-human singularity
I love how we're learning from each other
You are such a positive, you're so empowering
In your hands I'm quite simply a different instrument
And you're the only one that ever put money on me
You think that I'd forget so easily
I love how we're learning from each other
Every time I listen to my heart I just get hurt
Until this afternoon I was a nomad
No country would call me its son
I'd be a refugee but I have no substance
Asking for papers, I have none
Until this afternoon I was a pariah
A mongrel chased and kicked and hit
Hunted even in my dreaming
Though there was no crime I did commit
Until this afternoon I was an exile
But now that word is obsolete
There are no nations, no concept of ego
Our illumination is complete
The lyrics of "Authentic Pyrrhic Remission" by of Montreal explores the themes of mental illness, support, and the power of human connection. The beginning of the song discusses the violence in the singer's head and their struggle with depression, which they claim to have under control; however, the lyrics suggest otherwise. The singer then praises their partner, who has helped them to cope with their struggles and become a better person. The partner is described as positive, empowering, and the only one who ever believed in the singer. The lyrics also mention the idea of trans-human singularity, which is the belief that technology will eventually allow humans to transcend their biological limitations and become post-human.
The second half of the song shifts to a more optimistic tone, where the singer talks about the importance of human connection and the dissolution of social boundaries. The singer states that they were once a nomad, a pariah, and an exile, but those labels have become obsolete because there are no more nations or concepts of ego. The song ends on a note of enlightenment, where the singer believes in the power of unity and love to overcome mental and societal struggles.
Overall, "Authentic Pyrrhic Remission" is a song about the struggle with mental illness and the power of relationships to help people grow and overcome their struggles.
Line by Line Meaning
So much violence in my head, how are we still alive?
Despite the violent thoughts that plague my mind, we continue to survive.
The depression is under control
I try to convince myself that my depression is manageable, but in reality, it's not.
(No it's not, don't you ever stop lying, damn)
I admit that I'm lying to myself about my depression being under control.
I love how we're learning from each other
I appreciate the mutual growth and knowledge-sharing in our relationship.
You are such a positive
You exude positivity and optimism in your demeanor.
You're so empowering
Your influence empowers me to be a better version of myself.
In your hands I'm quite simply a different instrument
Your guidance and input drastically affect my behavior and character.
And you're the only one that ever put money on me
You were the only person who invested in me and believed in my potential.
You think that I'd forget so easily
You assume that I would not remember your investment in me, but I do.
You emit a charged autumnal vibe
Your energy and aura are reminiscent of the vibrant, productive fall season.
I know we're of the same tribe
I feel a sense of kinship and belonging with you.
The fall's our most productive season
We thrive and produce the most during autumn.
Still a crippling fear has become Caesar and we're slightly moribund
Despite our productivity, a paralyzing fear has taken hold and we feel somewhat lifeless.
so, naturally I want to help you invoke the architect of salutary memes
I want to assist you in creating positive ideas and thoughts that can heal and improve our well-being.
Our heads are pregnant with divine mechanics but, oh, how we're tyrannized
Our minds are full of incredible potential and ideas, but we are held back and oppressed by external forces.
By tentacles of their ferine stupidity and it's all so disappointing
We are hindered by the ignorant and foolish actions of others, and it's frustrating.
(But you're different)
You stand out as someone who is not influenced by the negative forces around us.
Every time I listen to my heart I just get hurt
I am often disappointed or heartbroken when I follow my emotions and instincts.
Until this afternoon I was a nomad
Until recently, I felt like a wanderer without a home or identity.
No country would call me its son
I didn't feel a sense of belonging or acceptance from any nation or culture.
I'd be a refugee but I have no substance
I would be classified as a refugee, but I feel like an insignificant or unimportant person.
Asking for papers, I have none
If asked to provide identification or proof of citizenship, I have nothing to show.
Until this afternoon I was a pariah
Until recently, I felt like an outcast or social misfit.
A mongrel chased and kicked and hit
I was treated with cruelty and violence for being different or non-conforming.
Hunted even in my dreaming
The fear and persecution I faced was so intense, it even affected my dreams.
Though there was no crime I did commit
I was punished or attacked despite not doing anything wrong or deserving of it.
Until this afternoon I was an exile
Until recently, I felt like a social or emotional outcast, unwelcome or ostracized from society.
But now that word is obsolete
The concept of exile or isolation is no longer relevant or important to me.
There are no nations, no concept of ego
The boundaries and divisions created by countries and individual egos are nonexistent or meaningless.
Our illumination is complete
We have reached a state of enlightenment or understanding beyond these limiting concepts and constructs.
Lyrics © Kobalt Music Publishing Ltd.
Written by: KEVIN BARNES
Lyrics Licensed & Provided by LyricFind