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Kevin and Christina make out in a car at the airport, flipping off the police officer that tells them to keepmoving. Kevin and Christina discuss taking ecstasy as couple’s therapy. Kevin and Christina break downand then reconnect. The new love we heard about on the last of Montreal record, White is Relic/IrrealisMood, is settling. If that was the falling-in-love record, then this is the staying-in-love record. That was theeasy part; this is the interesting part, the challenging part, the next chapter of Kevin Barnes’autobiographical album streak, UR FUN.The public diary that started with of Montreal’s classic album Hissing Fauna, Are You The Destroyer? hascontinued into a growing string of increasingly personal works. On UR FUN, Barnes is more candid thanever, presenting ten concise electro-pop songs that expose the depths of their current life, their privatethoughts—both optimistic and brooding—and their passionate relationship with songwriter ChristinaSchneider of Locate S,1. This ramped-up vulnerability has inspired Barnes to strip their stage persona ofcostumes and drag, just appearing as themself on recent tours for the first time in many years.After several albums recorded with collaborators and various band members, Barnes opted to record thisone completely alone. In their home studio in Athens, Georgia, Barnes isolated themself in creativehibernation, working obsessive 12-plus hour days arranging manic synth and drum machine maps on acomputer screen with bouncy, melodic basslines, glam guitars and layered vocal harmonies. Inspired byalbums like Cyndi Lauper’s She’s So Unusual and Janet Jackson’s Control, Barnes set out to make URFUN into the kind of album where every song could be a single, complete with huge hooky choruses andnostalgic dance grooves. The result is an unstoppably fun album that could also pass for a carefullysequenced greatest-hits collection if taken out of context.UR FUN contains a fundamental contradiction that will be familiar to of Montreal fans. The songs have ayouthful, contemporary dance-pop feel, but contain dense, multidimensional, adult lyrics. The album’sopener and first single, “Peace To All Freaks” is a “protest song against totalitarianism, familial terrorismand wastefulness in all its forms” (says Barnes) that expresses love to the outcasts and the gentle peoplein this world, leaving us with this reminder: “Hush, hush/ Don’t let’s be cynical/ don’t let’s be bitter/ If youfeel like you can’t do it for yourself then do it for us”. On “Polyaneurism”, Barnes playfully meditates on theups and downs of polyamory and unconventional relationships: “Playing musical lovers is starting to feelkind of kitsch/ if you want monogamy are you just like some basic bitch?” According to Barnes, the song“Get God’s Attention by Being an Atheist” is about “the pleasures of childlike destruction and reckless joyseeking.”Literary and cultural references on UR FUN run thick. In the same manner that Barnes’ lyrics turnedthousands of listeners onto the obscene French novel The Story of the Eye in the past, UR FUN packsnods as diverse and obscure as the films of Itallian horror filmmaker Mario Bava, queer novel HorseCrazy by Gary Indiana, Panamanian pop star El General, 80’s sci-fi movie Liquid Sky, Big Star’s cover of“Femme Fatale,” French death metal group Death Throne, and Caetano Veloso’s beautiful rendition of theMexican love song “Cucurucucú Paloma”, to name just a few.UR FUN’s final moments bring the self-examination of the record full circle with some darker numbers thatlament a lost friendship and slips of mental clarity. If the album’s bleak ending leaves you feelinghopeless, flip the record over again and remind yourself “Hush, hush, don’t let’s be negative.” This is allfor fun after all.