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SATANIC PANIC IN THE ATTIC [Vinyl]

31 customer reviews

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Vinyl, April 6, 2004
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SATANIC PANIC IN THE ATTIC [Vinyl] + Sunlandic Twins + Skeletal Lamping [Vinyl]
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Editorial Reviews

The sixth full-length and first for Polyvinyl from this Athens, GA band is a departure from previous releases. There's a 70's Afro beat and an 80's new wave influence, and the songs are full of danceable electro hooks.


1. Disconnect the Dots
2. Lysergic Bliss
3. Will You Come and Fetch Me
4. My British Tour Diary
5. Rapture Rapes the Muses
6. Eros' Entropic Tundra
7. City Bird
8. Erroneous Escape into Erik Eckles
9. Chrissie Kiss the Corpse
10. Your Magic Is Working
11. Climb the Ladder
12. How Lester Lost His Wife
13. Spike the Senses
14. Vegan in Furs

Product Details

  • Vinyl (April 6, 2004)
  • limited_edition edition
  • Number of Discs: 1
  • Label: Polyvinyl Recor
  • ASIN: B0001LYEW8
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (31 customer reviews)
  • Amazon Best Sellers Rank: #101,780 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

9 of 9 people found the following review helpful By Robert Rabiee on April 6, 2004
Format: Audio CD
It's been a rough couple of years for us Of Montreal fans. Their last two release, "Coquelicot Amongst The Poppies (A Variety of Whimsical Verse)" and "Aldhils Arboretum," while repleat with the pop-perfect weirdness that is songwriter Kevin Barnes's bread-and-butterflies, were beginning to feel - well, let's say a tad over-ripe. Packed with filler material (from sub-par songlets to over-long "literary" passages), these albums felt like dull attempts to recapture the love, excitement, and sheer genius of such early Barnes masterpieces as "The Gay Parade" and "The Bedside Drama (A Petite Tragedy)."
Flash forward to Fall 2003. Barnes announces on Of Montreal's Web site ([...]) that their new record, "Satanic Panic in the Attic," would be "a little electronic" - panic, right? Right. But then the pieces fell into place: "Sad Love" (retitled on this record "Eros' Entropic Tundra") was released as part of a Valentine's day comp, the opening track "Disconnect the Dots" was put up on the band site, and "Rapture Rapes the Muses" was leaked by their Australian label. And what, may you ask, did THIS pop fan do?
Jump for joy.
Kevin Barnes has hit a new level of brilliance on this album, fulfilling the promise of the band's other records. Unlike "Aldhils Arboretum," Barnes isn't afraid to reveal his freakish side, allowing the inner child to play catch with songs like "Lysergic Bliss" and "Chrissie Kiss The Corpse," maybe the greatest song about necrophelia NOT from a Norwegian black metal band (but don't quote me on that). "City Bird" is hands-down his most beautiful composition, the melody gently pressing down on soap bubble-brittle guitar work.
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7 of 7 people found the following review helpful By EA Solinas HALL OF FAMETOP 500 REVIEWERVINE VOICE on March 30, 2005
Format: Audio CD
Of Montreal shifted gears somewhere along the road: instead of psychedelic folkpop, they began dabbling in catchy, humorous electropop. That sound is at the heart of "Satanic Panic in the Attic," a solid album that preserves their weird sensibilities, but changes their sound.

It's obvious from the beginning that this is essentially a psychedelic dance album: "Disconnect the Dots" opens with a gloriously catchy electronic tune, which is just a few beats too slow from being "poppy." And the lunatic lyrics are kept the same in songs like the lighthearted "Lysergic Bliss": "And I'm dizzy from her kiss/so vertiginous lost in lysergic bliss."

After that, the sound gets even more diverse, with Afrobeats and xylophone get mixed in with Beatlesque guitar pop. Frontman Kevin Barnes even dabbles in bass-pop in "Lester Loses His Wife." The biggest break in form is an acoustic ballad in the fragile "City Bird," a flute-and-guitar number that urges a "city bird" to seek its true place in the sky.

Time has passed, and Of Montreal seems to have grown up a little. In "Satanic Panic," Barnes muses on how "all I ever get is sad love," and laments "I think the chemicals have done/some evil thing to me" over a buzzing acid-pop tune. Fortunately, these songs don't overshadow the fun that brims out of most of the other songs.: Mischief comes into the song with the wonderfully gruesome "Chrissy Kiss The Corpse," about some people having fun with a corpse at a bus stop.

There's a greater electronic influence in this album, something which might be "new-wavey" if it weren't as loopy and folky. Under the blips and waves, however, are some solid drums, guitars and basslines, which form the basis of the catchier tunes.
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7 of 7 people found the following review helpful By Cale E. Reneau on December 17, 2005
Format: Audio CD
Wow! If you listen to Of Montreal's acclaimed album "The Gay Parade" and then follow it up with a listen to "Satanic Panic In the Attic" you will be surprised that you are listening to the same band. The once whimsical circus music that enveloped their two concept albums "The Gay Parade" and "Coquelicot Asleep In the Poppies" is not entirely gone, but it has evolved into something much better, and much more accessible to the casual listener.

Begining with the Kinks/Monkees reminiscent track "Disconnect the Dots," it becomes very obvious that you are listening to a different Of Montreal. One could attribute this change to the record label switch to Polyvinyl, but we can't be entirely sure. What is sure is that for the next 13 tracks you are taken on a pop rollercoaster, and it's one of the greatest rides of 2004. Not only that, but the song "Rapture Rapes the Muses" is quite possibly the best indie pop song of all time, at least in the last few years. There's pretty much nothing to hate about this album, and with a group as fun-loving and easy-going as Of Montreal, that's not too hard to accomplish.
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6 of 6 people found the following review helpful By The Last Person You'd Expect on August 4, 2004
Format: Audio CD
While it seems that many listeners enjoyed the simpler pop sounds of their last album and the somewhat disappointing (IMHO) epic Colequet Asleep in the Poppies, I tended to find them much weaker in comparison with the Gay Parade. On the new album, Barnes experiments with a more electronic mix and a drastically more energetic sound than what he's attempted in the past, and he succeeds with his most creative album in years, and the lyrics aren't so cute as to make me queasy. In fact, fans of their Elephant Six brethren Beulah might find a little in common with the new Of Montreal; they've inherited a little of Beulah's 'cool' sound, but overall, as the album's title suggests, the energy level is a lot higher. Understandably, some Of Montreal fans may be a little taken aback (I was), but I think after a few listens, most fans would agree that the album is a second coming for the band.
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SATANIC PANIC IN THE ATTIC [Vinyl]
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