Atlas Sound - Parallax

The best sounds of 2011 came at different times for me. It’s always best to find as much music as possible but sometimes I can sure get in a rut. But still, music was flowing like a river and by the time Parallax flowed in, I was lost. I’ve probably already developed a bad case of fanboyism for too many bands and artists; regardless, I love Deerhunter and well, now this album is probably the best thing Bradford Cox has done in three years? So better than Halcyon Digest is my main take; it’s by far my favorite Atlas Sound album so far and well, Logos, is spectacular. Here’s “Mona Lisa” and flawless guitar pop with enveloping vocals.


I love “Te Amo” probably the most. It begins with this arpeggio-like melody played on a scaling keyboard that introduces a soft light; there’s a dark, but very subtle shade of gray that permeates in the atmosphere, you hear it in the beginning and it leads into the swell before his voice appears – just listen to the light mist at the very beginning. I love the tapping pattern of the drums and the way every instrument and new layer counter off each other: it’s endearing how advanced his compositions are, now. Everything sounds vibrant and very lush and ornate, as if you’re inside of the dreams (or nightmares) that Cox lives. He sings, “You can come around, when you’re down you’re always down…always down,” and there’s a tremble of guitar and bass that coalesces into a perfect slice of pop. It’s mostly what Parallax is about, he’s still sad, we all are but the music is just so sugary bliss. – Bryan

Atlas Sound – Logos

I was presumptuous last time when saying November would have double digit posts. I am bummed we didn’t get more than five. December will be different; let’s be modest and say at least double that. Here’s to not being presumptuous.

By the way, I’ve never said this here I’m not sure but "Breaking Bad," please watch it. I might write on it soon. I think I could form some decent, objective reasons as to why it is the best show on TV. Then they would turn into passionate, deep subjective reasons that has everyone wondering if I’m nuts. I might be. I’m not. But that show, is spectacular. The best. Until then, "It’s Always Sunny in Philadelphia" is the best show too, comedy wise. Nothing beats it, except maybe "Louie." But those three, yes, the best right now. "Breaking Bad," I highly recommend it.

This album, Logos, has barely seemed to set in for me. I’m not sure what it is with music but I can live with something for years and barely get the magnificence of it years after. This happens maybe because I have a lot of sounds coming in and out. It might be because it gets filed in a categorical, canon-style like manner. It could be just poor excuses that amount to a lack of focus on what music is really about: bursting aesthetic pleasure. Wait, that’s still an excuse.

Either way, somehow I didn’t quite understand the glittered luster of “Sheila” and its driving percussion, the drowning guitar and Bradford Cox singing “Cuz no one wants to die alone…” and how it is pop bliss. There’s a shimmering guitar, layered in between a tattered shaker and Cox’ longing vocals to Sheila. Like a modern-day, awkward and dorky Stanley Kowalski – as heroic really – shouting “Stella, Stella.” He’s crying for her, he’s calling to her, and he’s yearning for her. And if she comes, yes, please, let’s die alone together.


I’m talking about this album because his new one, Parallax, is amazing. The year is slowly coming to a close and I am going to try and better it all here. The last song here, title track, powers with drumming pulse and shrouded, cloudy vocals from Cox. It’s an upbeat, springing feeling to end it all and I love the hopeful vibe. It’s a ray of light at the end, a great album for all to enjoy, now or later or whenever. – Bryan