Satanic Panic in the Attic was my first of Montreal album, and effectively one of my earliest forays into the realm of indie music. I could go on all day about what indie music means to me, and music in general, how it opened up avenues of creativity, and in the process allowed a rush of lame talents to take over the alternative world, and blah blah blah.
of Montreal’s bouncy interpretation of psychedelic pop is made immediate with the opening track Disconnect the Dots. Laid-back basslines with zig-zagging electronics provide the perfect background music whimsical lyrics about the awkwardness that usually goes along with young love.
One of the greatest things about this album is the seriously playful rhythm section, which I suppose is Glenn Schick for mastering it. The drums are immensely fun to listen to, setting up poppy beats while the happily drugged up bass skirts through each song with a personal mission to fill your ears with syrup.
Like everything in life, some stuff is better than others, and the songs on the album aren’t any more special. Every song has its own special identity. However, it may entice you to know there isn’t a single weak track on the entire album. Sure, Eros’ Entropic Tundra’s lyrical execution could be more striking, but check out what the greatest songs have to offer. Lysergic Bliss is all over the place, a dance off between Barnes layered vocals and contemplative piano, with some delicious guitar work in between.
My British Tour Diary drips with respectable sarcasm and ends with a gnarly little dancehall number, by far one of the better examples of the band’s sense of humor. Spike The Senses cements of Montreal as sultans of psychedelia, with its hazy tripped out chorus.
You should still give it a spin. I mean, just look at that cover art. It’d be criminal for a band to release an album possessing that sort of image and then have it not be chock-full of awesome music.