By Evan Verploegh
Loons in the Attic is a Minneapolis based rock band that lends their eclectic sound to a variety of sources including spacey jazz, hard rock and even dashes of experimental electronic. The inticing product comes to full fruition in their self titled EP.
The band’s first release kicks off with “Fireball”. A resonating drum beat begins the track which quickly moves into a slinky, yet driving guitar line accented flawlessly by bouncing, progressive-rock synth chords delivered by Michael Wisneski. We then get our first taste of Bobby Ryden’s vocal prowess. Ryden impressive range and knack for harmonizing allows “Fireball” to successfully lure in the listener for the rest of the EP.
“Struck Dumb” is up next as we get a touch of mellow from Loons in the Attic. The verses flow delicately before we move into more surreal territory. Wisneski lays on the fully psychedelic synth sound as Ryden’s vocals growl over the top. The song builds into a short, but very effective guitar solo from Brenton Nelson as the rest of the band falls into danceable groove. A staccato section brings us back to life before Nelson sends us back into the atmosphere with a looser, free-flowing solo to end the track.
The EP’s third track “No Speak” is an ideal example of the array of influences the band shows. We begin the track in sunlight with an Allman Brothers-esque guitar riff, before we are quickly dropped into dark electronica in the vein of STS9 or The Disco Biscuits. We are shown a bit of optimism as we move into the melodious chorus and then are transported back into the shadows. Following the 2nd chorus the band is able to really stretch their legs as they move through a tight section of open chords and soaring vocals.
In parallel of its title, “Calm” gives the listener a chance to catch their breath and enjoy a blissful run of keys from Wisneski. The buoyant, instrumental track is then taken over by drummer Ryan Ball as he puts his impressive chops on display. Ball runs through series’ of swift fills as Wisneski triumphant, spacious synth chords counters the drummer’s liveliness.
The EP comes to a close with the longest track “Uptown Too”. We get our last chance to marvel at Ryden’s range as he effortlessly hits notes in a the highest register we have heard thus far. “Uptown Too” is the album’s best example of the band feeding off one another. Both the rhythm and lead guitar, keys and Brian Sheehan’s brilliantly understated bass sound flow and intertwine near flawlessly throughout the track. If I had to pick a track that most accurately represented the skill sets and overall ambience of Loons in the Attic, this would be it.
The EP is a great introduction to the relatively new band. The album does a great job of demonstrating the bands ability to produce complex and intricate yet very listenable music. Loons in the Attic does a marvelous job of sticking to their influences but manage to avoid rehashing already-written music. The outcome is five songs with their own, distinct identity and an EP that is exciting, eccentric and that begs to be explored even deeper in a live setting.
https://loonsintheattic.bandcamp.com/releases
http://www.loonsintheattic.com
https://www.facebook.com/loonsintheattic/timeline?ref=page_internal
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