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.
When a Man Is in Love With a Man
of Montreal Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Common thing common but beautiful all the same
Still there's something so neat something so
Extraordinarily sweet with a man who's in love
With a man
I have nothing to say about the traditional ways
They're fine if they work well for you
But there is something so right so completely
With a man who's in love with a man
Or a woman who's in love with a woman
They should never feel ashamed because it's
So important to do the things we want with
Whoever turns us on
Now a man desiring a woman that's a very
Common thing common and really rather dull
There is something so strange something so
Wonderfully deranged in a man desiring a man
Or a woman desiring a woman
Men are usually fighting each other that's
Why I think it's so special when a man and
A man are in love It's so good It's so special
Now a man kissing a woman is a very
Common thing common but usually
Quite nice still there is something so fine
Something so beautifully divine In a man
Kissing a man
A man kissing a man
The lyrics to of Montreal's song "When a Man Is in Love With a Man" speaks to the beauty and importance of same-sex love. The song opens up by acknowledging the traditional ways of man loving a woman, which is considered common but beautiful, but then highlights the extraordinary sweetness of a man who's in love with another man. The song's message reinforces the idea that love is love, regardless of gender or sexual orientation. The singer emphasizes that people shouldn't feel ashamed of their desires, and it's essential to do the things that make them happy, regardless of what society may say.
The track tactfully addresses the unique challenges that same-sex couples face, such as being considered deranged or abnormal. However, the song flips this narrative and portrays same-sex love as a beautiful, special thing that should be celebrated. The singer further emphasizes the uniqueness of same-sex love by noting that typically, men fight one another, but when two men are in love, it's something so special and good.
The song's overall message about same-sex love is one of acceptance, and the idea that people should not be judged or feel ashamed of who they love. Overall, "When a Man Is in Love With a Man" is a powerful song that reinforces the idea of universal love.
Line by Line Meaning
Now a man loving a woman that's a very
It is common to see a man loving a woman, which is fine, even though it occurs frequently.
Common thing common but beautiful all the same
This is a regular occurrence, but it is nevertheless lovely.
Still there's something so neat something so
Despite its commonness, there is still something unique and special about it that is impossible to miss.
Extraordinarily sweet with a man who's in love
However, there is something indescribably touching and heartwarming about a man who is in love with another man.
With a man who's in love with a man
This lyric reaffirms the central theme of the song, which is the beauty of love between men.
I have nothing to say about the traditional ways
The artist acknowledges the existence of traditional romantic relationships, but prefers to focus on the topic of same-gender relationships.
They're fine if they work well for you
The artist does not judge people who prefer traditional romantic relationships, as long as they are happy with them.
But there is something so right so completely
However, there is an inherent correctness and purity to same-gender relationships that is difficult to articulate.
Out of sight with a man who's in love with a man
The artist believes that love between men is a perfectly valid and beautiful expression of human connection.
Or a woman who's in love with a woman
The artist also believes that love between women is just as valid and deserving of respect.
They should never feel ashamed because it's
The artist wants to reassure same-gender couples that they should never be made to feel ashamed of their love for one another.
So important to do the things we want with
Regardless of society's expectations, individuals should be free to pursue the romantic relationships that make them happiest.
Whoever turns us on
It is vital that we follow our desires and attractions, no matter whom they may be directed toward.
Now a man desiring a woman that's a very
The artist notes that finding women desirable is also commonplace, though less personally compelling.
Common thing common and really rather dull
The artist feels that heterosexual attraction is less interesting than same-gender attraction.
There is something so strange something so
However, there is an undeniable queer otherness to same-gender attraction that feels unique and fascinating.
Wonderfully deranged in a man desiring a man
The artist acknowledges that society may view same-gender desire as abnormal or insane, but celebrates that feeling anyway.
Or a woman desiring a woman
The artist also acknowledges and celebrates female same-gender attraction.
Men are usually fighting each other that's
The artist notes a common stereotype about masculine aggression and competitiveness.
Why I think it's so special when a man and
In light of this stereotype, the artist finds same-gender relationships to be especially noteworthy and heartening.
A man are in love It's so good It's so special
The artist concludes the song by affirming the profound emotional significance of same-gender love, and its power to transform lives for the better.
Now a man kissing a woman is a very
Physical intimacy between men and women is a familiar sight.
Common thing common but usually
Although common, these displays of affection are typically well-received and enjoyable.
Quite nice still there is something so fine
These romantic gestures are still beautiful in their own right.
Something so beautifully divine In a man
However, the artist feels that displays of affection between men hold a unique, almost sacred significance.
Kissing a man
The artist uses this final lyric to encapsulate the core message of the song: that same-gender love can be beautiful, divine, and worthy of celebration.
Lyrics © Kobalt Music Publishing Ltd.
Written by: KEVIN BARNES
Lyrics Licensed & Provided by LyricFind