By Liz Belilovskaya

Of Montreal’s the Controllersphere is dynamic, eclectic, technical and weird. Its oddness stems from an unorthodox compilation of sounds and effects, paired with lyrics that are erratic, mystical and poetic, yet manic. The resulting sound is a cross between fancy synth exaggeration and out of this world imagery and a surprising balance between music and content.  

The first track, “Black Lion Massacre,” begins with light chimes and synth booms but evolves into something else as a steady beat emerges from the initial sound fog. The words are just as strange, painting a nightmarish tale of Black Lion as woman who, as illustrated by the title eventually meets a tragic end.

“Flunkt Sass vs The Root Plume” differs from the intro with its organic guitar, and slow drums. The lyrics are presented in a weird monologue form. The singer sounds like a broken-voiced, post-puberty young boy performing strenuous breathing exercises as he squeals occasionally in pain. Very odd and disturbingly calm and eerie.

The coolest song on the album happens to be “Holiday Call.” Its organic beginning is rather minimalist for Of Montreal but it is, by no means, average. It starts off with a rather mellow sound, but transforms into a Tribal, almost Turkish-inspired segment, glossed over with an Electro voiceover. Maybe the world music is supposed to represent religious cultures, since the lyrics inquire of the Lord’s presence. The wild ride ends on easy organic piano notes.

“L’Age D’or” is an undeniable dance song with an immediate rhythm that sets the very chill yet energetic tempo and texture of the track. There are some 70’s style blotches that shine through occasionally, but overall it’s a cool vibe of the modern era. They actually attempt to sing on this track, but the lyrics are again dabbling lunacy. Nonetheless, it’s cool; it’s a dance song anyway. “Slave Translator” is another up-tempo dance song; full of high-energy The Strokes-style fun at the outset. The midsection is decked out with an eerie mid-riff while a perky choir maintains a dual layer of sound until the end, which all ends in noise.

The Controllersphere is a very detached from reality, aloof, and strange record full of good ideas, dark stories, warped imagination and comically erratic eeriness. The music is smart, and the guys know how to make an impression but they don’t care enough to try to impress you; instead they try to weird you out.  It’s a shock and awe approach, which has worked for some artists and not so much for others. The only problem with the record is that it can be too experimental. The elements of noise that are frequently utilized by the band are not for everyone. Many listeners may not be able to get through the fog and will miss out on the elements worth hearing. Overall, not bad.

01 Black Lion Massacre
3.25 out of 5

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