Kevin Barnes has announced a new of Montreal album called White Is Relic\/Irrealis Mood, the follow-up to 2016\u2019s Innocence Reaches and last year\u2019s Rune Husk EP. According to Barnes, the new LP was heavily inspired by \u201980s club remixes, and the squelchy synth-funk of lead single \u201cParanoiac Intervals\/Body Dysmorphia\u201d thumps appropriately. Listen and read what Barnes has to say about the album below. https:\/\/www.youtube.com\/embed\/GuFw4IZWOUE Two important events occurred during the making of White Is Relic\/Irrealis Mood. I became \u201cSimulated Reality\u201d paranoid and I fell in LOVE. Well a lot more happened during the process of writing and recording, but those are the two big ones. I also reached a healthy point of self-forgiveness for my failed marriage and became deeply educated in the lies of America the Great. I feel like a switch was recently turned on in my brain and now I\u2019m beginning to see through the lies that have been fed to me my whole life by the masters of media and by those who control and manipulate the narrative of our cultural identity and social order. My paranoia began during the presidential election cycle and reached a dangerous peak shortly after the inauguration. In the meantime I watched and read countless works of art in a mad effort to be reminded of how many truly brilliant people there are living\/struggling among us and to try to maintain a positive outlook. The works of Angela Davis, Noam Chomsky, Chris Kraus, Ta-Nehisi Coates, and the Autobiographies of Malcolm X and Mark E Smith were all great inspirations, to name a few. Musically, I was very inspired by the extended dance mixes that people used to make for pop singles back in the \u201880s. It\u2019s so cool how a lot of the 80\u2019s hits had these really intricate and interesting longer versions that wouldn\u2019t get played on the radio and could only be heard in the clubs. I used that template with these tracks, I wanted them all to feel like the extended \u201cclub edit\u201d of album tracks. I also decided to abandon the \u201clive band in a room\u201d approach that I had been using on the recent albums and work more on my own or remotely with collaborators. I used the same drum sample packs throughout because I wanted the album to have a rhythmic continuity to it. I wanted the drums to have a strong and consistent identity, similar to how Prince\u2019s Linn Electronics LM-1 drum machine played such an important role on his classic albums. Zac Colwell also played a huge role on this album, adding saxophones and synths to most of the songs. I also got a lot of help from long time collaborators, and \u201cof Montreal\u201d touring members, Clayton Rychlik and JoJo Glidewell. The two title concept came to me when I was thinking about how difficult it is to frame the message of a song with just one title, because so often the songs are about so many different subjects. \u2018White Is Relic\u2019 was inspired by James Baldwin\u2019s writings regarding the creation and propagation of a toxic American White identity. I\u2019ve come to learn how it\u2019s just a tool wielded by the 1% to give poor white people a false sense of superiority in an effort to keep the masses placated and numb to how deeply we\u2019re all getting fucked by our capitalist rulers. An \u2018Irrealis Mood\u2019 is a linguistic indicator that something isn\u2019t yet reality but does have the potential to become so. I\u2019m always searching for new identities so this concept of the death of \u201cWhiteness\u201d appeals to me greatly. Might be the only way to save the world. -Kevin Barnes, January 2018 White Is Relic\/Irrealis Mood is out 3\/9 on Polyvinyl. This post originally appeared on Stereogum.