He described this new album on the Polyvinyl website as his 'foray into 21st century A.D.D. Thankfully, The Sunlandic Twins sees Barnes capitalizing on the dance beats in Satanic Panic in the Attic. He was no longer a pop pretender, but a distinctive and exciting voice in the reborn dance-pop genre. Barnes's Os Mutantes-evoking melodies and bizarre instrumentation flew over the production, and his harmonies soared higher than ever before. It was one of my favorite albums of the year last year, and 'Spike the Senses,' 'Disconnect the Dots,' 'Rapture Rapes the Muses' and 'Vegan in Furs' stood out thanks to their seamless inclusion of dance rhythms, groovy bass lines, and warped Prince funk. Group mastermind Kevin Barnes finally created an album that was both unified and joyously fractured, eschewing the album-encapsulating concepts of past albums to deliver single after single of delightful and summery pop music. And that has a lot to do with why last year's Satanic Panic in the Attic came as such a surprise. They've weathered the storm, and they did so by mixing their innocent pop fixation with sonic and conceptual experiments, from the vaudeville lo-fi flair of The Gay Parade to the cohesive plot of The Bedside Drama: A Petite Tragedy. But Of Montreal - at one point merely a curiosity of the movement - now stands as the standard bearer for the genre. The apples are cored and the tremors are out of control. It's been a long time (in music years) since the indie-pop comeback of the late 1990s.

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