The New Yorker has a profile up:

Logic of Excess: Kevin Barnes’ Disco Semiotics

Barnes’s bag of tricks is deep; David Bowie’s bedazzled seventies rock is just as relevant as literary nods, disco highs are as appealing as melodic intricacy, and pleasure seems to drive every one of Barnes’s impatient, rococo arrangements. “Skeletal Lamping,” the group’s ninth and best album, isn’t just the most danceable; disco punches up the hedonism in Barnes’s songwriting, and the steady 4/4 thump helps keep the fidgety songs from splintering.