Attic Ocean
Retriever
(Digital)
Retriever is a five song EP from German five-piece Attic Ocean. It is their second EP, and you know what? They have figured it all out! Each of these five songs evoke different sounds, yet this is a tight unified whole. I can’t imagine breaking these songs apart from their running order, so it feels best to listen to it in its entirety instead of picking individual songs. Each song has been a favorite since its release in October.
“Young Again” opens this all too brief set with a shot of electricity charged by a driving bassline, and a dreamy sounding guitar lead that evokes “The Cutter” by Echo and the Bunnymen. Hannin Nasirat’s urgent vocals along with the vibrant instrumentation drawing similarities to the best songs from Spain’s incredible Linda Guilala. “Young Again” is so aptly titled, because it brims with an inescapable energy that is a powerful narcotic. This is one of the biggest joys in seeking out and discovering new music.
Next up, is the huge sounding “Lilies and Sea” that uses its heavy wall of guitar fuzz to bolster the chorus, reminding of some of the best 90s indie by utilizing that era’s LOUDquietLOUD drama. Hannin’s hushed vocals, and the stratospheric twin guitars of Niels Baumgarten and Maximilian Swierczynski hint at Slowdive’s style of shoegaze, while the galloping drums from Lukas Moore, along with the huge sounding chorus that hints at Lanterns on the Lake at their most anthemic.
“Glow” provides us with a jangly spirally hook that reminds of Velocity Girl’s “My Forgotten Favorite” as channeled through the cranberries’ third album To the Faithful Departed. “Glow” is an unabashed pop song with a cyclical vibe and a gushing haze of atmosphere.
The penultimate “Sleepless” thumps along with strong snarling guitars and serious grinding bass from Philip Marx providing a heaviness the previous songs don’t share. Moore sounds like he’s trying to break his snare and bass drums, along with his splash cymbals. It’s a glorious song that smashes through its three minutes and is an unexpected change up.
The closing “Weeks into Years” is another example of this band’s strong songwriting talents. It sounds timeless and immediately familiar. I swear it sounds like something I can’t quite put my finger on (ideas are welcome), but it doesn’t matter because it’s absolutely glorious. The soaring whirr of reverb highlighting the bridges, the Rachel Goswell-esque “oohs” from Chaperhouse’s brilliant “Pearl,” and Marx’s extremely tightly stretched bass strings pluck out a danceable groove, which all combine for a song that begs for repeated listens.
If you’re not certain from what I’ve written here, this EP is astounding! I highly recommend checking them out. This EP initially hit me in a similar way that Australia’s Fragile Animals did with their debut LP last year. Songs with emotional depth, musical drama, and catchy hooks. What could be better?
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