Customer Reviews

If He's Protecting Our Nation Then Who Will Protec

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As I understand it, this was originally recorded to be sold only at their concerts, as an offhand "thanks for being our fans" gesture. Leave it to Of Montreal to be so damn good that even a "castoff" album like this is loaded with music that is head-slappingly brilliant.

While lacking the grand concepts of their best albums ("The Gay Parade" and "Coquelicot Asleep in the Poppies"), the density and diversity of these songs are little miracles of creative ingenuity. Their most recent "real" album, "Aldhil's Arboredum", while crammed with uniformly fantastic songs, sounds somewhat timid by comparison. (But only by comparison; it's still a wonderful cd!) If Salvador Dali had formed a band with the cast of Sesame Street, it would probably sound like Of Montreal.

The opening "My, What a Strange Day with a Swede" is an instant classic, chockful of strange sounds, ear-twisting chord changes, and melodic charm. The closing "Christmas Isn't Safe for Animals" is a beautiful / bizarre hybrid that only Of Montreal are capable of. We also get "There is Nothing Wrong with Hating Rock Critics", which tickles me pink every time I hear it, and a nice cover of The Zombies' "Friends of Mine". In between is a hodgepodge, mostly genius, one or two throwaway moments, but a thrilling and joyful ride all the way through.

Of Montreal never fail to reintroduce me to my ears, and make sounds that positively glow with newness and imagination. This cd is no exception.

This album is the only actual release I've heard from the band Of Montreal. I've heard they have better.

The title, a political jab at George W. Bush (who is quite the easy target these days), means, no doubt, something pretty damning and rather insulting to the President, or would be, if anyone can figure out what it means. The cover art appears to be an indictment against Bush - again, that is, if anyone could figure out the incomprehensible meaning behind it all.

The overall sound of the album is dominanted by samples, stringes, horns, guitar, piano, etc.

Is it a good album? I suppose so. Like the dear E. A. Solinas points out (I found myself reviewing a lot of the same things he reviews), this individual songs are actually pretty great (especially "Hating Rock Critics"). But overall, the album is very much a throwback to the early and mid 1960s where albums just collection of random songs, rather than a body of work with any conceptual and binding unity.

What songs there are are quite good. However, the album is very disjointed, making this more a record of individual moments, than an overall musical experience you can wrap your mind around.

It's a schizophrenic album, to say the least. Good, but too disjointed to really hang together as a good album. Lots of great songs though.

Of all the George W. Bush-related titles I've seen, this one has to be the weirdest: The full title is "If He Is Protecting Our Nation, Who Will Protect Big Oil, Our Children?", and the cover is almost incomprehensible. It might be controversial, if anyone can figure out what exactly it all means.

But "Then Who Will Protect Big Oil" is also one of Of Montreal's endearingly peculiar albums. It isn't a concept album, and it has no flow. Yet it is a great collection of songs: the bubbly "My, What A Strange Day With A Swede," bouncy folkpop "An Ill-Fated Hiccup," and the truly surreal "Mimi Merlot Beatnik Version."

Without any real theme, this collection has echoes of "Cocquelicot," especially in songs like "Charlie And Freddy." It starts off with an impassioned conversation, before kicking off to some bizarre vocals and piano. And there's "Maple Licorice," a joyous mix of horns, goofy yo-yo sound effects, and marching-band music. But they also stretch their limits with the rocking, sneering "There Is Nothing Wrong With Hating Rock Critics," one of the best rock songs I have heard in eons.

Apparently "Then Who Will Protect Big Oil" is compiled of odds and ends, originally a tour CD. So it sounds totally different from one song to another, even employing the famous fuzz effect in "Barely Asian At the Beefcake Horizon." The only thing that keeps "Then Who Will Protect Big Oil" from being a top-notch album is that it is so disjointed. Virtually every song is a winner on its own, but they lack cohesion when you stick all the little songs together.

Kevin Barnes' slightly odd voice is clear and sweet in most of the songs, although he slurs it like a drunken rocker in "There Is Nothing Wrong With Hating Rock Critics" and mumbles incoherently in "Barely Asian At the Beefcake Horizon." The music is even better -- a glorious cacophony of piano, guitar, strings, party-like horns, weird sound effects, and patched-in samples.

"Then Who Will Protect Big Oil" is one of the more disjointed albums that Of Montreal has released, and only that lack of flow keeps it from being one of their best.

Of all the George W. Bush-related titles I've seen, this one has to be the weirdest: The full title is "If He Is Protecting Our Nation, Who Will Protect Big Oil, Our Children?", and the cover is almost incomprehensible. It might be controversial, if anyone can figure out what exactly it all means.

But "Then Who Will Protect Big Oil" is also one of Of Montreal's endearingly peculiar albums. It isn't a concept album, and it has no flow. Yet it is a great collection of songs: the bubbly "My, What A Strange Day With A Swede," bouncy folkpop "An Ill-Fated Hiccup," and the truly surreal "Mimi Merlot Beatnik Version."

Without any real theme, this collection has echoes of "Cocquelicot," especially in songs like "Charlie And Freddy." It starts off with an impassioned conversation, before kicking off to some bizarre vocals and piano -- just the sort of wild, bizarre stuff you'd expect.

And there's "Maple Licorice," a joyous mix of horns, goofy yo-yo sound effects, and marching-band music. But they also stretch their limits with the rocking, sneering "There Is Nothing Wrong With Hating Rock Critics," one of the best rock songs I have heard in eons.

Apparently "Then Who Will Protect Big Oil" is compiled of odds and ends, originally a tour CD. So it sounds totally different from one song to another, even employing the famous fuzz effect in "Barely Asian At the Beefcake Horizon." The only thing that keeps "Then Who Will Protect Big Oil" from being a top-notch album is that it is so disjointed.

Virtually every song is a winner on its own, but they lack cohesion when you stick all the little songs together. The music is the best part of it all -- a glorious cacophony of piano, guitar, strings, party-like horns, weird sound effects, and patched-in samples here and there -- truly enchanting.

Kevin Barnes' slightly odd voice is clear and sweet in most of the songs, although he slurs it like a drunken rocker in "There Is Nothing Wrong With Hating Rock Critics" and mumbles incoherently in "Barely Asian At the Beefcake Horizon." At least the quirky, adorable lyrics are still in place.

"Then Who Will Protect Big Oil" is one of the more disjointed albums that Of Montreal has released, and only that lack of flow keeps it from being one of their best.