Here's a nifty album released in 2004 by a verrrrrry fun band. Here's what Pitchfork has to say about Of Montreal's "Satanic Panic in The Attic":
displays a considerable maturation in Kevin Barnes' songwriting. Everything, from the Sgt. Pepper's
-copping album art to the wontedly verbose lyrics and song titles, would suggest a predictable collection of spindly psych-pop. But when the music actually starts, the differences become apparent. "Disconnect the Dots" begins with a Doppler-affected drum sample, before the abrupt appearance of both handclaps and a verifiably indelible guitar riff. Seconds later, Barnes arrives, bearing an invitation: "Come disconnect the dots with me, poppy," he intones, before deliquescing into a blissful mini-chorus. From there, the song shifts effortlessly from section to section, orchestrating a dense but well-balanced array of organ drones, vocal harmonies, astral guitar peals, and interlocking electro-acoustic percussion. And this is all in the album's first 4½ minutes.
"Disconnect the Dots" is more than just an album pacesetter-- it's a mission statement for a band remade, or at least reconsidered. The new Of Montreal grab your attention, not deliberately invite it to wander, as the next track, "Lysergic Bliss", makes abundantly clear. The song is perhaps most reminiscent of the band's earlier work, sluicing through multiple time and key changes with operatic grandiosity. On a previous effort, the song's fragments might have either fallen apart from lack of a coherent vision or been mashed together to form a mottled soup of disparate ideas, but here, the track is handled with impressive finesse; even the bridge's extended a cappella harmonies have a natural flow."