“I think that you’re great,” Kevin Barnes croons amid pulsating synths, his voice beckoning from the back of a robot nightclub. “Let’s relate.” That seemingly tossed-off lyric marks a promising shift toward simplification. While of Montreal’s recent work has run a jaw-dropping stylistic gamut from prog to folk-rock to electrofunk, Barnes has often been a killjoy in his own songs, bogging them down with sub-Shakespearean ramblings. (“The mutinous tramp of cold voltage/ Crucifixion is my conduit,” he hurled on last year’s “Bassem Sabry.”) With album 14, Innocence Reaches, he favors efficiency over bloat, with a melodic focus and measured word-sper-minute pace that he hasn’t approached in a decade. Take “My Fair Lady,” a psychedelic reverie that ruminates—in concrete language—on the complexities of a past love. “Because you’ve been so abused, I have to give all the love that was meant for you to some other girl,” he sings over a signature, arpeggiated bass gallop, backed by jazz-flute flourishes. Thankfully, his hodgepodge arrangements haven’t mellowed, veering from barbed acid-punk (“Gratuitous Abysses”) to symphonic electro-pop (“A Sport and a Pastime”). Finally, an of Montreal album that stimulates the heart as much as the brain.