Hissing Fauna, are you the Destroyer?

Locations
Call Number: CD Rock Of Hissing
On Shelf At: Downtown Library

Location & Checkout Length	Call Number	Checkout Length	Item Status
Downtown 3rd Floor, CDs 2-week checkout	CD Rock Of Hissing	2-week checkout	On Shelf

Compact disc.
Suffer for fashion -- Sink the Seine -- Cato as a pun -- Heimdalsgate like a Promethean curse -- Gronlandic edit -- Sentence of sorts in Kongsvinger -- Past is a grotesque animal -- Bunny ain't no kind of rider -- Faberge falls for shuggie -- Labyrinthian pomp -- She's a rejector -- We were born the mutants again with leafling.
Rock music; Of Montreal.

COMMUNITY REVIEWS

Deranged with Candy submitted by Caser on September 16, 2010, 3:35pm Hissing Fauna, Are You The Destroyer is Of Montreal's poisonous Halloween candy. It's a delicious, king sized Butterfingers candy bar that is laced with strychnine; an overfull bowl of Cocoa Puffs with lead dye; a veritable Turkish Delight with a fawning White Witch lasciviously waiting around the corner.

Kevin Barnes drops every last bit of pop sweetness into the melodies, squealing harmonies, and turns of phrase from his bag of musical tricks on these dozen tunes. But his lyrical inspiration is decidedly not so sweet. Coming on the heels of a separation from his wife, who returned to Norway to live with her family and their newborn daughter, Barnes suffered a depression and near mental breakdown while writing these songs.

What you get are lyrics like "Chemicals, don't strangle my pen /
Chemicals, don't make me sick again / I'm always so dubious of your intent / Like I can't afford to replace what you've spent," from the fourth track, "Heimdalsgate Like a Promethean Curse," or the less poetic, acerbic sentiment, "There's the girl that left me bitter / Want to pay some other girl / To just walk up to her and hit her / But I can't, I can't, I can't."

Strangely enough, it's a really fun record to listen to at very high volumes. Not only are these sugar coated, scintillating pop tunes as catchy as sonically possible, but Barnes does not take the listener into a bemoaning, self-perpetuated abyss; rather, he allows us to empathize with him while staying atop the bubbles, dancing rather than wallowing.