Attic Lights

ATTIC LIGHTS

After their cover of ‘I Could Be So Good For You’ and their own ditty called ‘Wendy’ many would be forgiven for writing off Attic Lights as the cheesiest bunch of guys with guitars since The Proclaimers. However, The Proclaimers did write ‘Sunshine on Leith’ (not only the greatest song ever written but the sort of thing that Leonard Cohen looks at and wishes he could in retrospect just cheer up a bit) so hope is not entirely lost.

There was no reason for Attic Lights to change their formula after debut LP ‘Friday Night Lights’ (i.e. big cheery harmonies and bigger cheerier anthemic choruses) and pleasingly this has indeed remained hardly untouched. ‘Say You Love Me’ eases you into the album largely as a continuation of the saccharine charm that enveloped the likes of ‘Bring You Down’ and ‘Future Bound’ begins with a flourish of cowbell and ends sounding like the lovechild of The Strokes and Roxy Music.

It’s only when the band differentiates from the formula that the album falters. ‘Breathe For Me’ is the sort of non descript dirge that results from getting round ‘difficult second album syndrome’ by suggesting “like the first album, but bigger” and really ignores all the undeniable strengths that Attic Lights hold. ‘Lock Me Out’ has slide guitar, breathy vocals and the total absence of someone “putting a fucking donk on it”.

Thankfully there are enough tracks on the album that remind us of why Attic Lights are so easy to fall in love with. ‘Orbison’ has a strong guitar hook, memorable vocal melodies and a chorus that sticks in the brain for days. Like much on show here it’s a big cinnamon smooch, a big warm hug on a winter’s day.

Shuffle in closer Attic Lights, we want to spend the night with you.
Matthew Shaw