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| Photos | Dianca Potts (click to enlarge) |
Tolerable with eerie vocalizations, opener Gang Gang Dance’s set proved passionate, but it seemed to be the sort of performance that called for acquired taste — at least judging by the general lack of enthusiasm from the Electric Factory crowd. As soon as their lengthy stand came to a close, a flood of roadies immediately began prepping the stage for Polyvinyl's most flamboyant act.
Sporting matching faux-muscled Superman costumes, of Montreal materialized onstage, backed by projections of abstracted shapes, colors and artsy film shorts of the band and faceless, swordless fencers. They were also accompanied by a gang of costumed golden buddhas. (Lead sing er Kevin Barnes would later sprawl in the arms of his silent deities.) Tracks like "Gallery Piece" and "Women's Studies Victims" (from this year’s Skeletal Lamping), along with older songs — Satanic Panic in the Attic's "Disconnect the Dots" and Hissing Fauna's monumentally danceable "Gronlandic Edit" — were enhanced by a revolving, diorama-like stage that transformed as the Georgia boys ran down their set list. Scenery jumped from a saloon featuring a piano player with a scantily clad woman sprawled across the top of his upright to Barnes' take on Catholicism, with the frontman seated on a golden throne dressed like the Pope, a group of devoted nuns crowded near his feet.
of Montreal really runs with such provocative eye candy — but they're still a thrill for the ears. Don't be fooled by the generally lackluster critical reception of their latest record. Both fantastic and bizarre, their H'ween extravaganza stunned and pleased. There's no other way around it.
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