Monsters In The Attic

Feature

What Do They Sound Like:
The self-defined ‘Monster Metal’ of monsters In the Attic is a fearsome welding of a combination of varying rock styles and metal influences. The result is a brutal tub-thumping, axe wielding guitar machine aligned with a 36 Crazyfists-esque melodic vocal attachment.

The Story So Far:
Formed in 2001, Monsters In The Attic won Metal Hammer’s Demo Of The Month (under a previous name) and were immediately propelled into stardom.. sort of. Playing countless successful shows around the UK, the band have slowly clambered their way up metal’s ladder and after some strategic line-up changes they have settled into a comfortable outfit bound for the top. With energetic sets covered in London venues from the small Monarch barfly in Camden to the Mean Fiddler in Charing Cross, the band are currently putting their dancing shoes to one side while writing and recording a new five-track CD.

For Fans Of:
36 Crazyfists, Sunk, Loto, Glassjaw
- Future Publishing

10/13
'Pleasantly surprised' is the expression that best suits hearing "Tales of a Worm" by London band Monsters in the Attic. At first their press release did not make for good reading when it stated "They like to sing tongue in cheek songs about riding your luck and zombie girls."

This immediately brought thoughts of the likes of Steel Panther to mind. But thankfully this great little EP adds meat to the bones of the songs.

This acoustic EP is the first of two CDs that will be released by the band with the second being fully electric. This EP includes acoustic versions of fan favourites and a new song in 'Get to the Border' and is something of a departure from their main sound.

"Tales of a Worm" begins with 'Church Sundae'. This track is a re-working of the song 'I'll be damned' and has a cool acoustic groove to it as well as some nifty guitar play. New song 'Get to the border' follows with the introduction of strings adding a touch of class to the frantic acoustic guitars. This new track is bound to be another live favourite the band can add to their set.

'Zombie girl' is reworked and slowed right down from its normally electric arrangement and becomes a fantastic slow burner. A harmonica adds some blues on to the track. Possibly the best track on this EP.

Closing track 'Jules' brings the EP to an end and further shows the band's talent to come up with some great melodies as they sing about a deranged character of the same name.

Having the two of these EP's when they are released would be a great purchase for fans of the band.

"Tales of a Worm" helps to show that balls out rock bands can really strip it all back to create some haunting and gentle music. - ROOM 13

If you think you know what to expect, you're almost definitely wrong. When we first spun up this 4-track EP we were amazed by what came out the speakers. Instead of anything 'Whirlwind' or 'Blistering' our ears were treated to four tracks of excellent, laid back acoustic bliss. These are stripped down, simple things which show off a different side of the bands capabilities. Once you get over the surprise you realise it's a very good release, and one well worth 15 minutes of anyone's time.

The EP opens with Church Sundae, which is arguably the simplest song on here and, although pleasant enough, doesn't quite have the catch of the others. The second offering, Get To The Border, more than makes up for this though and it even includes an instrument you may not entirely expect ;). It's certainly a track that shows off the bands aptitude for life in this unfamiliar genre. The remaining two tracks on the EP, Zombie Girl and Jules maintain this high standard to the end.

It's always nice when you hear something that pleasantly defies your expectations. But who, exactly, are Monsters In The Attic, and why would they make such a radical change in musical direction with Tales Of The Worm.
- CackBlabbath

(8/10)
Well – this one took me completely by surprise! From their name and what I’d previously read about MONSTERS IN THE ATTIC, I was expecting fifteen minutes of punk infused hard rock. What I got was quarter of an hour of acoustic versions of existing MONSTERS’ songs.
But it was nice surprise –though I do believe this to this to be a temporary diversion and the first of two EPs the band are to release, the second being a full electric one.
Opening track ‘Church Sundae,’ is a re-working of crowd favourite ‘I’ll Be Damned’ and if you can refrain from trying to compare the two versions and let the acoustic version stand alone, then you’d have to say that it certainly works. There’s a nice, flowing rhythm to it and the vocals are mellow, and with a pretty cool little guitar solo in the middle, this could track could easily have been transported forward in time from some generic, late Seventies Southern Rock band. (Apart from the bloody annoying whistling! Leave that to Peter, Bjorn and John, lads!)
‘Get To The Border’ sees the addition of a string section, and in particular a cello to add a darker, moodier feel. This is played off against some lighter and faster guitar. Not having heard the original version it’s very easy for me to say that this track is really atmospheric and again works beautifully in its new format.
‘Zombie Girl’ features some haunting harmonica as the pace drops into more of a Bluesy mode in a song about a zombie girlfriend, before the closing track ‘Jules’ – a rehash of the electric version ‘Tell Jules’ – completes the EP with a bit of a stomp with an eminently sing-a-long chorus.
I have no idea how any hardcore fans of MONSTERS IN THE ATTIC with react to this brief change in direction, but all I can say is that up here in Glasgow we have a band called Kassidy who have made a name for themselves producing this brand of music. MONSTERS IN THE ATTIC also do it very well…..could they be contemplating an altogether different route to a more mainstream success?
On this evidence, the ‘diversion’ could just prove to be shrewd shortcut.
- Loud Horizon

It's only recently that I have been introduced to the sounds of London based trio Monsters In The Attic. Their brand of greasy punk 'n' roll impressed me enough for me to get suitably excited when their new EP turned up in the Über Röck mailbox.

But the four track EP that greeted me as I pressed play was a whole new experience. The first of two EP's that the band will release, 'Tales Of The Worm' is an all-acoustic affair featuring reworkings of three of the band's top tunes and an all-new song. And talking of new experiences, this is definitely the first package to turn up with lyric-printed promo toilet paper.......

Opener 'Church Sundae' is an acoustic rehash of the band's crowd favourite 'I'll Be Damned' and is a great introduction to this subtle song selection. Such is the confidence of the Monster Boys they even manage to get away with a bit of whistling! New song 'Get To The Border' benefits greatly from some haunting cello and is a real standout track. A swampy, Southern style version of 'Zombie Girl' ("she's living dead but hot as hell"), dealing with undead heartache, rides in on the back of some impressively hellish harmonica and reminds me of long-forgotten act The Havalinas. EP closer 'Jules' is another cleanly-sung winner whose chorus, no doubt benefitting from the unplugged scenario that it finds itself in, sounds particularly big, bad and beautiful.

Awesome as a stand-alone release and also a great precursor to the all-electric EP that will follow, 'Tales Of The Worm' gets the Über seal of approval assuring that this won't be the last you'll hear of Monsters In The Attic.......
- Über Rock

3/5
WHAT’S THE STORY?: London rockers, Monsters In The Attic, have taken a musical departure with their latest E.P by converting established tracks of their raucous punk rock into acoustic adaptations. Only “Get to the Border” is new material, whilst the remainder of this release consists of older tracks that have been reassembled in an acoustic format.

Opener, “Church Sundae”, is a re-envisaging of the band’s album track “I’ll Be Damned” that begins with an auspiciously impressive lead vocal, but descends into mediocrity. The track suffers from repetitive guitar work, disappointingly leading to a meandering and indistinctive offering.
“Zombie Girl” and “Jules” considerably improve the CD’s standard, and the group’s adeptness at their experimental genre is suddenly evident.
Predictably, “Get To The Border” is the indisputable highlight of this E.P. Including a cello within the track was an example of true ingenuity, as the instrument effectively enhances the brooding utterances of singer, Patch Barbet.

Monsters In The Attic may specialise in punk rock, yet `Tales of The Worm’ truly demonstrates their musical versatility.

SOUNDS LIKE: John Butler Trio, Dustin Kensrue, Right Away, Great Captain!
YOU’LL LIKE THIS IF: You are partial to acoustic music, intertwined with unorthodox lyricism. - Red Hot Velvet

7/10
It’s arguable that you can best judge whether a song is any good by stripping it back to its rawest elements; removing the rhythm section and any clever production techniques and leaving behind only unplugged guitar and vocals. Gothic-tinged punk rock trio Monsters In The Attic are therefore taking a brave risk by releasing this acoustic EP, which leaves their songwriting exposed, unprotected by volume and distortion. While the acoustic sound doesn’t feel entirely natural – the rhythms seem to be hankering for the confirmation of a bassline and a beat – they do succeed with this release; the songs included here are robust enough to stand up unadorned. There are three reworkings here, and a new track, ‘Get To The Border’. While this song has the advantages of no original version to compare it to, and a string section, it’s not the best track on the EP. The acoustic version of ‘Zombie Girl’, with harmonica licks and more soulful vocals, is the standout here. While it’s not an ideal introduction to the usual sound of Monsters In The Attic, this chilled-out bunch of songs nonetheless has much to offer fans and newcomers alike.
- - Shout For Music

A chaotic start is met with an innocent melody that simmers briefly before unleashing more furious H-core on the '13th Floor'. A danceable second track from this East London based quartet is in tune with the above tradition of heavy riffs, fast-paced drumming and of course, emotive choruses. Progression is easily noted on the third track 'Silent Film'. Only recently forming, under a year ago, Monsters in the Attic are in need of etching out their individuality. But there is enough evidence to suggest, these boys are gearing up to mature to a very respectable level - 7/10.
Reese Hunter - Rock Reviewer (rockreviewer.co.uk)

Don't know where they come from, or where and how you can get your hands on this, but someone is going to tell us I'm sure. They're appropriately named, for within three seconds you'll believe that monsters do exist, and vocalist Patch Barbet has just popped into the loft and come face to face with one. What does he do? He doesn't run and hide that's for sure, preferring to face the bastard down and unleash an assault on its senses that, if the guitars don't flay the skin from its body, will have it soiling its pants at the sheer ferosity emanating from Barbet's throat. Hardcore was never harder, nor more vivid.
Cliff
- Logo Magazine (logo-magazine.com)

Monsters in the Attic batter you into submission with their single '13th Floor'. Pounding and driving guitars from Chris and Andy Sawyer and a mixture of metal, anthemic, spoken and screaming vocals from Patch Barbet. Not a single that will hit you on first listen...but will have you by the balls after a couple of listens. An English metal act with enough power and if all goes to plan...recognition. Consign US metal bands on your shelf and check your attic for any UK Metal monsters that lurch there. These guys make The Used, etc look like an advert for sleeping pills. - Manilla (manillame.com)

East London’s Monsters in the Attic won Metal Hammer’s ‘Demo of the Month’ a while back, were a featured band in Rock Sound and then promptly went off the radar due to the inevitable line-up changes and day-job woes that all young bands must endure. This nifty mini-CD demo, their most recent release, will automatically earn them kudos with both reviewers and their burgeoning fanbase alike for its cool design and ease-of-slipping-in-pocket properties!
Opening track ‘House of Mirrors’ kicks off with a classic-sounding intro, before bringing the chug on the verse and rounding things off nicely with a decent chorus. However, after listening to the b-sides, this is actually the weakest tune on offer here. It’s competently done stuff, but just doesn’t showcase the Monsters’ strong grasp of melody, fluid energy and subtle change of pace.
Stand-out track ‘Stepping on Cars’ is a fine case in point. This is one of those meaty, riff-laden, air-guitar-worthy tunes that hits the ground running and barely lets up for a second. The strong, anthemic vocals are augmented with a liberal smattering of crew chants, changes of pace and even a couple of solid hardcore breakdowns. Tasty.
‘Plan B’ is the sound of MITA cutting loose and happily unleashing their “Monster Metal” goodness. In fact, the entire demo could be best described as System of a Down meets Deftones fronted by Chris Cornell, but wearing looser jeans (i.e. more screamy/ passionate and less high-pitched!), all caught in a spin-cycle with 36 Crazyfists. Phew!
In my humble opinion, the only hiccup with this pretty damn solid release is one of track order – something that can easily be resolved. Sort that out, fellas and I reckon you could be on to something good…and monstrous.
Andrew Raymond
- Glasswerk (www.glasswerk.co.uk)