SEPT/OCT 2010 ISSUE MMUSICMAG.COM SPOTLIGHT Patrick Heagney Patrick Kevin Barnes (top row, far right) and Of Montreal James Minchin of montreal Getting away from home for a while, thanks to a serious case of the funk flu

Of MOntreal MasterMind Kevin and provocative stage shows. “i was really Barnes recorded the group’s previous self-conscious–i couldn’t even find the albums at his home studio in Georgia. But pitch. it totally destroyed my mojo,” he says. for the act’s new effort, False Priest, he “it’s like writing a diary while it’s getting elected to work with producer Jon Brion projected onto a screen that everyone is (rufus Wainwright, aimee Mann, fiona reading. it’s awkward. that’s what i like apple) in a professional studio. “it was about cutting my vocals at home: it’s four really just a desire to do something different, in the morning and no one’s around. i’m able because i’d been doing it this way for so to get really free.” long,” Barnes says. “it seemed like a really free, in this case, meant channeling AS SEEN IN: SEPT/OCT good opportunity for me to get an education, the feel of the music that inspired the to see how people who make radio sound of False Priest: funk. “i think i caught 2010 M MUSIC & records—but not in a cheesy way, good this strange funk flu, as if it was a virus or MUSICIANS MAGAZINE radio records—work.” something,” Barnes says with a laugh. “i’ve after recording early versions of been listening to a lot of Parliament, a lot the songs at home (with contributions of soul and funk records from the ’70s.” from r&B singers Janelle Monáe and Barnes, 36, was just a kid when funk and solange Knowles), Barnes presented soul reached their heights in the ’70s, and he the tunes to Brion in los angeles. knows better than to try imitating the singers “We experimented with things we could who made those styles so successful. He replace, like all the bass guitars, and added all regards the songs on False Priest more as these drums and synthesizers,” Barnes a tribute to the spirit of the era. says. “it was kind of cool to hear the “there’s something magical about difference of the bass sounds in my that time period,” he says. “it’s easy to home studio and what it sounds like in romanticize a time period that doesn’t exist a professional studio.” anymore, but that’s the one that’s winning When it came time to record his vocals, in my head. George Clinton, Marvin Gaye, though, Barnes felt stymied by having other stevie Wonder and Curtis Mayfield were people present in the studio—unexpected sort of directing this album.” from a guy known for outlandish costumes –Eric R. Danton

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