Of Montreal’s Kevin Barnes: The complete Paste interview
Paste: Yeah, because you have to come up with whole new ways to manufacture this stuff, right?
Barnes: Yeah. But also, I think that the spirit of the times, like with what Radiohead did [releasing an independent album as a name-your-own-price download, and then also offering a gorgeous, high-priced special edition]—it sent ripples through the industry. All of a sudden you realize there’s a lot of potential, you can do a lot of different things. You don’t have to just follow the boring path. Everyone involved in Of Montreal is very creative and we all want to do interesting, important things, so it’s cool to give people an opportunity, like [my wife] Nina and David, to design these objects, and to also give people the option, so when they download the record, they don’t have to just get this tiny little thumbnail image of the album cover. They get a T-shirt or a tote bag or a lantern or a wall decal—it’s that much more exciting to get that in the mail.
Paste: [Your publicist], Frank, told me about a book and a play and an art show related to the release of Skeletal Lamping. Is that stuff still in the works?
Barnes: Well, we’re trying. David’s working on a book of his illustrations and what we’d like to do is come out with another Skeletal Lamping collection of all new objects, probably in early spring. I love the idea of creating a whole collection of art objects that are somehow affiliated with the release of a record. It makes it so much more interesting than just a record. It becomes a lot bigger, and I love that idea of like—in fashion you get it all the time, the spring collection, like the Marc Jacobs spring collection. It’s always something that’s—it’s not just one pair of pants, it’s a lot of different items. And I really hope that, in the future, it’d be really cool if it caught on and every band did that—released four or five objects with their record. It’s always good to have options, you know? And it’s also really exciting to try to create different things. What we really wanted to do was put on an art show in every major city and coordinate that with the release of the record. I think we’re trying to do one at the MoMAs in every city, and we’re gonna try to work on that in the spring. It would be awesome to do something like that, where you get a group of really creative people in every city and give them a rough idea of what you want to do, and people could put on this performance-art piece at the same time all over the world, and it’s in some way connected to the release of the record. Art is fun in that way, when you try to think of different ways to inspire people, and different reasons to make art, and different reasons to produce things. A lot of our production comes down to inspiration. And a lot of times, you’re just sitting there, you don’t really know what to do and then something will just click. And then, you’re off. You spend the next month working on this thing. So I love that about art—that it’s sort of laying there dormant until you find the switch to turn it on and it just explodes.
Paste: What about that play? Is there something going on with that? Is it something you’re writing?
Barnes: I guess there’s other performance-art troops doing things like this already—the idea was to have a happening in every city on the day we play. So it’s sort of like the circus coming to town, it’s not just the rock show that lasts for three or four hours—the whole day is an event. It’s probably not gonna happen on this tour, but we’re going to try to do that in the future, maybe the next tour, where we get to the city a little early and set up an art installation and a performance-art piece in an art gallery. And we had this idea for this machine that would like record people’s voices, and then you use the voices from that day’s event in the performance at night so everything ties together. I think that would be really exciting for people to feel more connected, to feel a part of it. I think art should always be communal. I always want the live performance to be more of a communal experience so it’s not just us entertaining people. I want people to feel like this is a chance for them to dress up and step out of their normal reality. And this is outside of time, outside of whoever they’re expected to be in their day job. It’s an exceptional moment in time that matters, that has value, and it’s exciting, and it has potential and anything can happen.
Part II