Label: Polyvinyl Records
Release Date: April 6, 2004
Website: www.ofmontreal.net
Of Montreal - Satanic Panic in the Attic
Lars Gotrich
After years of denial, I think I can safely say E6 is dead. Of course, Elepant 6
stopped functioning as a record label a few years ago (maybe even more),
but that "sound" persisted. Now, I don't want to get into too much debate
on the particulars of the E6 sound because it ranges anywhere from the
fuzz-folk of Neutral Milk Hotel to the Beach Boys worship of Olivia Tremor
Control to the psychedelic Beatles love of this writing's main concern.
That's not to say the influence of the Athens/Denver collective isn't still
around, the sunny pop music is everywhere (my occasional modern rock
radio listens produce bands that basically stole harmonies and chord
patterns from E6), but the first, second, and third waves of of E6 are slowly
moving on.
Just listening to the newly released Walking With the Beggar Boys
by Elf Power and last year's Antistar by Marshmallow Coast mark
important changes within the original cast of characters with the former
playing more straight-ahead pop and the latter finally shedding his Of
Montreal past. The funny thing is that everytime I mention I live in
Athens to some E6 fanatic, they just ask a crazy amount of questions about
the current Athens music scene, and often go away a little disappointed to
hear that it's not the mythic musical paradise they made it out to be. In fact,
it was already long gone by the time I moved here. Instead, Athens expands
itself into a mess of different musical spectrums. The influence of the E6 is
definitely still around, still pushing the strong community effort to making
music.
With that unnecessary rhetoric out of the way, Satanic Panic in the
Attic quite possibly might be Of Montreal's best effort yet. I know quite
a few who would disagree and point to The Gay Parade (I probably
would, too), but it can't be denied this is the band's most cohesive album
since, well, ever. While albums like The Gay Parade ("Fun Loving
Nun" is still in my top 3 favorite OM songlist) and Cherry Peel will
always be favorites, OM always had a problem of consistency. It's possible
this came from the loose and not-so-loose themes that Barnes and Co.
constructed their albums around, and we saw an effort to change that in
Aldhils Arboretum, but aside from "Pancakes for One" and "Doing
Nothing," the results were hit or miss.
[A cast of impatient readers yell, "GET ON WITH IT!"]
Which finally brings us to Satanic Panic (after taking an
unexpected month-long break from Tangzine, I'm getting it all out in one
night), an album that Kevin Barnes took full control of songwriting and
direction to new and exciting results. "Disconnect the Dots" affirms the
change at the very opening with its saw synths and dual lead guitar action.
The disco beat on this track makes quite a few appearances throughout and
creates OM's most danceable hits yet. But right off we hear how
comfortable David Barnes is in his new musical setting. His harmonies,
while noticeably constructed, feel refreshingly natural. The a cappella
breakdown in the middle of the head-bobbing pop of "Lysergic Bliss" is a
gleeful arrangement of four-part choral sprite that leads into a groovy
Steve Wonder segment led by Sara Kirkpatrick's (Marshmallow Coast) flute.
Barnes stretches his songwriting into a variety of styles all tied together by
his quirky sense of melody. The disco-funk of "My British Tour Diary" is a
fun little number only beaten by the new-wavey "Rapture Rapes the Muses"
(I dare you not to shake your tail to this beat). The beautiful acoustic "City
Bird" reminds me quite a bit of John Lennon's "Julia" with its reflective
picking pattern and vocals, but my friend Mitch says it reminds him of
Steely Dan (take your pick, I guess). Those looking for traditional OM can
look for it in "Your Love Is Working," but it's a little more straight-ahead
power pop than usual. But I will mention the most surprsing treat is "How
Lester Lost His Wife," a hard rocker unlike anything I've heard out of the OM
camp (the a-side of the bonus 7" that comes with the LP version also rocks
harder than you ever knew), and it makes me want more.
I don't know if I can call Satanic Panic in the Attic my favorite Of
Montreal album... yet (Cherry Peel holds a very special place for me
even if it's mainly for "When You're Loved Like You Are"), but I can't help
but get excited about the new direction Barnes is taking.
P.S.: Yet another fantastic layout by David Barnes
that looks especially nice on an LP jacket. He's outdone himself.
posted 06.06.04 -----
P.P.S.: If you're lucky, get the 4-song EP with Of Montreal covering The
Shins, Broadcast, Gorky's Zygotic Mynci, and and V Twin.
Lars Gotrich really likes to iron clothes. It's true. Send him your pants at lasar59@uga.edu
2002-2004 White Elephant Productions