Gooey psych-pop with a pinch of disco, you’ll fall in love listening to The Attics’ self-titled debut

Dreamy jangles, shoegaze threads and synth for days: you’ll fall in love with the dancefloor dreamscape of The Attics’ self-titled debut.

Crafting their own brand of lo-fi, heart-melting psych-pop, The Attics blend together jangly guitars, ear-worm basslines and echoes of blissful nostalgia

The Attics’ self-titled debut album is the rose-tinted soundtrack to falling in love. With an array of semi-electric psych-pop songs and a warm sound, the record continuously leans towards a DIY vibe, which I’m sure would sound even better during a live performance.

the attics self-titled debut album

These four Victoria-based musicians showed their first signs of life in the bedroom of frontman Cameron Wade, who sought inspiration from artists such as Connan Mockasin, Pond and Unknown Mortal Orchestra.

Finding their feet in 2016 following the release of two dreamy pop singles Not Like and Bluffing, the production of something bigger, better and shinier than ever was inevitable.

Dripping with dreamy guitars, space-like synths and heavenly harmonies, The Attics is a little too easy to get lost in. If floating on a cloud-borne disco in the sky could have a soundtrack, this record would be on repeat.

Bursting with life, each song sounds vastly different from the next without losing the album’s groove. An art that one would believe is difficult to master, yet somehow track after track paints a colourful, relaxing and altogether distinct picture.

Stuck Anywhere is a perfect compilation of all these elements, with track Is This Rolling Back In Time? showing just how full Wade’s voice can be. Wild Honey maintains an upbeat element whilst travelling down a more emotional avenue, again showing off some sultry vocals and the dream-like, xylophonic synths. 

The Attics is out now. Hear the 10-track record here or, even better, hear it live at their album launch:

Sat August 12 – The Grace Darling, Collingwood – Event