Attic Theory – What We Fear The Most
The title of the debut album from Liverpool based alt-groove ‘n’ grunge rockers Attic Theory cleverly reflects on what you will find within – eleven tracks that lyrically touch on the deepest and darkest human emotions, from loss and heartbreak to struggles and mental health issues, and the determination to overcome such hurdles.
Related, Attic Theory frontman Lewis Wright has made mention of his own emotional connection to the album and its themes – halfway through recording Wright had to undergo throat surgery; the deepest fear for a singer, particularly one who gives it his vocal all.
Indeed, Lewis Wright’s voice and lyrical narratives make such a vocal point that they also become the focal point; one complemented in weight and impetus by the triple guitar sound supplied by Peter Donnelly, Tim Cunningham & Matt Lawler, ably supported by the rock solid rhythm section of bassist Kenny McArthur and drummer Norm Walker.
'Violent Delight' makes for a seriously impacting opener; a gritty, groove-laden slab of alt-rock boogie led by that three-guitar attack (with some nice harmony and lead interjections), brooding verses and a Lewis Wright vocal on the chorus that’s so raw and real it’s a wonder he doesn’t sing himself hoarse.
'Tattooed Heart' eases back slightly on both tempo and intensity but not the brooding impact.
Set across an incessant rhythm and deceptively hooky chorus, the light & shade approach of the number makes for a highly effective slice of alt-rock.
The sonically bristling 'Papier-Mâché,' which features Candlebox's Kevin Martin on dual vocals with Lewis Wright, is another that wins out by not over-doing the intensity and playing, again, with light & shade (and an ear-worm "woo-ooh-ooh" vocal riff).
The pseudo-psychedelic undertones of the slower and brooding 'Tapestry,' bolstered by a hauntingly dark middle 8 and wicked little guitar solo, marks itself as an album highlight.
Similarly standout is the melodically framed alt-rock of 'Narrow Lines,' which lyrically goes to the deepest places, or in this case highest of buildings ("talk me off that ledge and I’ll tell you what I fear the most").
The latter also highlights one noticeable negative; a drum sound that, on a few of the numbers, sounds like Norm Walker is hitting, or drum pedal kicking, cardboard (given the production & mix are both solid, this can only be a recording issue, or an ill-advised sound choice).
The acoustic atmospheres of 'Million Little Things' allow for reflective melancholy before the second half of the song erupts in a cacophony of driving guitars, a powerful beat and Lewis Wright’s forceful vocal.
The song then ends quickly and quietly, as it began, thus reinforcing the lyrical conclusion that "There’s only chaos left and the damage done."
The thick wall of guitars that open 'Dare To Dream' quickly give way to the lighter, rhythmic groove of the verse before the song hits the heavyweight chorus; the pattern is then repeated before a short breakdown sets up repeated "I dare to dream!" calls backed by sparingly used but highly effective harmony/ backing vocals.
'Sweet Parasite' has a very similar arrangement to 'Dare To Dream;' as such it doesn’t make as much of an impact as it’s lighter atmospheres and razor-sharp guitar edges should (separating these two tracks in the sequencing would have probably benefited both).
Heavyweight grunge-ballad 'Your Light' features Lewis Wright delivering at his most soulful and, on the more impassioned and hard hitting guitar passages, giving it everything.
By contrast, 'A Brand New Burden' returns to tried & tested formula of brooding rhythmic verses and thick-riffed, sonically intense choruses; however the song is enhanced by a guitar that cuts loose and offers itself up as the best solo of the album.
Final number 'The Legacy' is the calm after the storm.
An acoustic backed, lyrically bittersweet number that features singer Lucy Ellen in harmony & backing support to Lewis Wright's soft & soulful deliveries, 'The Legacy' acts as closure in more ways than one ("my last word spoken, our gentle serenade; a melody of memories, before I start to fade").
2020 EP The Sign Of An Active Mind took no prisoners with its edgy and at times angry post-grunge/ alt rock intensity ('Your Light' is the only EP track to make it to the album).
But What We Fear The Most offers far more from Attic Theory in terms of where they are now, and hopefully headed.
Ross Muir
FabricationsHQ
Related, Attic Theory frontman Lewis Wright has made mention of his own emotional connection to the album and its themes – halfway through recording Wright had to undergo throat surgery; the deepest fear for a singer, particularly one who gives it his vocal all.
Indeed, Lewis Wright’s voice and lyrical narratives make such a vocal point that they also become the focal point; one complemented in weight and impetus by the triple guitar sound supplied by Peter Donnelly, Tim Cunningham & Matt Lawler, ably supported by the rock solid rhythm section of bassist Kenny McArthur and drummer Norm Walker.
'Violent Delight' makes for a seriously impacting opener; a gritty, groove-laden slab of alt-rock boogie led by that three-guitar attack (with some nice harmony and lead interjections), brooding verses and a Lewis Wright vocal on the chorus that’s so raw and real it’s a wonder he doesn’t sing himself hoarse.
'Tattooed Heart' eases back slightly on both tempo and intensity but not the brooding impact.
Set across an incessant rhythm and deceptively hooky chorus, the light & shade approach of the number makes for a highly effective slice of alt-rock.
The sonically bristling 'Papier-Mâché,' which features Candlebox's Kevin Martin on dual vocals with Lewis Wright, is another that wins out by not over-doing the intensity and playing, again, with light & shade (and an ear-worm "woo-ooh-ooh" vocal riff).
The pseudo-psychedelic undertones of the slower and brooding 'Tapestry,' bolstered by a hauntingly dark middle 8 and wicked little guitar solo, marks itself as an album highlight.
Similarly standout is the melodically framed alt-rock of 'Narrow Lines,' which lyrically goes to the deepest places, or in this case highest of buildings ("talk me off that ledge and I’ll tell you what I fear the most").
The latter also highlights one noticeable negative; a drum sound that, on a few of the numbers, sounds like Norm Walker is hitting, or drum pedal kicking, cardboard (given the production & mix are both solid, this can only be a recording issue, or an ill-advised sound choice).
The acoustic atmospheres of 'Million Little Things' allow for reflective melancholy before the second half of the song erupts in a cacophony of driving guitars, a powerful beat and Lewis Wright’s forceful vocal.
The song then ends quickly and quietly, as it began, thus reinforcing the lyrical conclusion that "There’s only chaos left and the damage done."
The thick wall of guitars that open 'Dare To Dream' quickly give way to the lighter, rhythmic groove of the verse before the song hits the heavyweight chorus; the pattern is then repeated before a short breakdown sets up repeated "I dare to dream!" calls backed by sparingly used but highly effective harmony/ backing vocals.
'Sweet Parasite' has a very similar arrangement to 'Dare To Dream;' as such it doesn’t make as much of an impact as it’s lighter atmospheres and razor-sharp guitar edges should (separating these two tracks in the sequencing would have probably benefited both).
Heavyweight grunge-ballad 'Your Light' features Lewis Wright delivering at his most soulful and, on the more impassioned and hard hitting guitar passages, giving it everything.
By contrast, 'A Brand New Burden' returns to tried & tested formula of brooding rhythmic verses and thick-riffed, sonically intense choruses; however the song is enhanced by a guitar that cuts loose and offers itself up as the best solo of the album.
Final number 'The Legacy' is the calm after the storm.
An acoustic backed, lyrically bittersweet number that features singer Lucy Ellen in harmony & backing support to Lewis Wright's soft & soulful deliveries, 'The Legacy' acts as closure in more ways than one ("my last word spoken, our gentle serenade; a melody of memories, before I start to fade").
2020 EP The Sign Of An Active Mind took no prisoners with its edgy and at times angry post-grunge/ alt rock intensity ('Your Light' is the only EP track to make it to the album).
But What We Fear The Most offers far more from Attic Theory in terms of where they are now, and hopefully headed.
Ross Muir
FabricationsHQ