Logos

Bradford Cox does a good job of keeping himself busy with musical endeavors, working between Deerhunter and his solo project, Atlas Sound. With his newest Atlas Sound release, “Logos,” Cox shows how well he can collaborate with other artists and produce an album that steers in an entirely different direction than his 2008 album “Let the Blind Lead Those Who Can See but Cannot Feel.”

Many of the songs on the first Atlas Sound record were autobiographical, drawing from Cox’s life experiences of child abuse and how he dealt with Marfan syndrome. In a press release issued for “Logos,” Cox wanted his listeners to understand that his new album would not be about introspection, saying “the lyrics are not autobiographical. The view is a lot more panoramic and less close-up. I became bored with introspection.” Cox’s new direction offers a more pop-oriented approach that works to his benefit in possibly attracting listeners who were disinterested in his more personal 2008 collection.

“Logos” opens with “The Light That Failed,” a slow start to the album that incorporates sampled, drippy noise accompanied with acoustic guitar and light percussion. The song is a start to an album that focuses more on organic instruments and sounds rather siding with laptop heavy electronics. This theme is continued with the next track, “Criminals,” a soft-rock song with a waltz beat that proves that simplicity is key for writing catchy, pop hooks.
The two songs which feature guest artists are arguably two of the best tracks to be heard on the album. “Walkabout,” the extremely catchy and poppy track to feature Animal Collective genius Panda Bear, has been described by some as one of the happiest-released tracks of the year. The dual vocals between Cox and Panda Bear make heavy instrumentation unnecessary in this track, aside from the intricate sampling found in the beginning and middle of the song. “Quick Canal,” the track to feature Stereolab front-woman Laetitia Sadier, is the longest but by far most interesting on the album. The song features Sadier’s vocals exclusively and sounds as if it could easily be found on a Stereolab B-side album.

Other tracks such as “Shelia” and “My Halo” continue in showing Cox’s simple, three-chord composition but also strengthen the album through their glossy, echo-y sound. “Logos” moved Cox to a position where he was able to find a balance between organic instruments and laptop electronics. Cox proves he has mastered the art of pop music in writing hooks that stay glued to your mind and keep you wanting more.