One of the most prominent acts to emerge from the Elephant 6 collective, Of Montreal originated from Athens, Georgia, and is fronted by vocalist and guitarist Kevin Barnes and features bassist Nina Barnes, guitarist/synthesizer Jason NeSmith, guitarist Bryan Poole, keyboardist Dottie Alexander and drummer James Huggins. Since their conception in 1997, the group has released several albums prior to the addition of Satanic Panic in the Attic to their catalogue. Of Montreal's brand of indie pop, which compiles their delicately expressive and endearingly childlike lyrics with their notoriously ambitious musical endeavoring, has put them on the map as one of the essential token bands for the genre. Their newest release is no different in terms of innovation, listenability and the other qualities that markedly identify the ensemble, but also presents itself as the most fully realized and consistent album to date.
The record opens with "Disconnect the Dots", which sets the pace with the incorporation of handclaps, dual guitar work, and oddly enough the organ to form a likeable and catchy, naturally psychedelic feeling. The track finds Barnes repeating the lyric, "Come disconnect the dots with me, poppet", a verse that, without the musical variation present, could get boring fast. The next song, "Lysergic Bliss" shines with a sweet and cascading melody and vocals that flow effortlessly alongside the climaxes and denouements. "Will You Come and Fetch Me" is an appropriate bridge to the disco-funk styling of "My British Tour Diary". "Rapture Rapes the Muses" is probably the most accessible track off the album, which begins with a racing beat that is inserted between choruses. "City Bird" is the most relaxed song, and is a welcome drone that prevents the songs from blending indistinguishably into each other. The pause doesn't last long though, "Erroneous Escape into Eric Eckles" picks things back up with a country feel. "Chrissie Kiss the Corpse" is a teasing number about necrophilia, "Your Magic is Working" is a sweet love song, "How Lester Lost His Wife" is rough enough to offset the sugary feel of the album, and "Vegan in Furs" has Barnes' vocal range extending itself more than usual across the disco channeling closer.
Personally, I really like this record, but I am partial to the band's previous albums as well. Someone who is unfamiliar with their work may feel more receptive to this album than its predecessors, due to its cohesiveness and straightforwardly pop tracks. But I could also see someone who has had their fair share of Beach Boys and '60s psychedelia being unable to stomach Of Montreal's saccharin-soaked repertoire. Regardless, Satanic Panic in the Attic proves to be a worthy buy for fans of the genre and at the very least, a worthy download for those who share distaste for them.
