Logos

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ALBUM INFORMATION
EDITOR'S PICK

Total Tracks: 11   Total Length: 43:53

eMusic Review

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Caitlin Dewey

eMusic Contributor

kt

10.19.09
Cox's most wistful, sunny, and accessible effort to date
2009 | Label: kranky / Iris

Bradford Cox, the polarizing giant behind both Deerhunter and Atlas Sound, has made a point of mentioning his ’60s girl group and doo-wop influences in virtually every interview he’s ever granted. But those big-haired, harmonizing inspirations have never been as apparent as they are on Logos, Cox’s effusive second effort as Atlas Sound.

In Cox’s world, of course, “pop” is more of a starting point than an actual descriptor — his takes are woozier and grittier than the word might imply, as if all of his songs were being run through badly broken speakers. But tracks like the lauded Panda Bear collaboration “Walkabout” skew close to Animal Collective freak-pop — it doesn’t take too much imagination to picture this track alongside “Brother Sport” or “My Girls.” A chirpy looped organ, sampled from the Dovers’ “What Am I Going To Do?,” repeats ad infinitum over tuneless, ambient swooning; meanwhile, Cox and Panda Bear harmonize about change and escape with such deliberate sunniness, it’s difficult to grasp the tragedy in their meaning.

Listen for that combination again on “Shelia,” the mid-album earworm that sets lines like “we’ll die alone, together” against a jangly acoustic backdrop. Far from disconcerting or counterintuitive, the track comes off… read more »

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FINALLY...

Dharmacat1

...been waiting to hear something new that doesn't sound like everything else for a long time! Ummm...A LOT of colorful brain goodies on this gem of the 2000's. Bradford Cox is a marvel, and after discovering this album here: I'm much obliged to scout out more of this siren's heavy opium of sound-scapes.

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break the mold

squid_ink666

ppl who make comparisons lack imagination

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Re: Re: Chordophone

-Ranger-

Panda Bear can be heard, because he is featured on Track 3.

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Re: Chordophone

millerbg

I'm not exactly sure how you get Panda Bear from listening to this record. Familiarity with his oeuvre would show this as a crystallization of the aesthetic and conceptual motifs Cox has been working with for years. If anything, I think this is the closest we've had yet to a concise, purposeful statement from such a prolific songsmith. For me, this is his "moment" so far.

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whatever

chordophone

This record is ok, but it sounds like the leader of an uninspired band (Deerhunter) making a solo record after listening to Panda Bear or something. Sometimes I think that people just really want to like something instead of actually liking it, and to me, this record and artist fit into that perfectly.

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really?

jdm010

I rarely comment, but please, atlas sound is not to be compared to death cab.

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hipster, please.

pyxis

So the reviewer below me is saying if you don't like (get) this, you will be content listening to a band who blatantly imitates deathcabforcutie. Clearly he's been living by the chart: http://tinyurl.com/pb7mr7

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Smoking

yossarian

Honestly not a big fan of Deerhunter, but this is off the chain. Agree with the positive reviews and as far as valium and coffee, yeah, sounds like a good combo and maybe even a good metaphor for Logos. Anyone interested in new music should appreciate this, if not, check out Owl City, it's probably more up your alley.

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Here's what it sounds like to me...

mynewnickname

Let's say Kevin Drew and Billy Corgan are roomies. They stumble home from a shitty party in a shitty suburb and decide to record some songs... however, they find that their equipment has been stolen! But they continue with the shitty equipment that's left behind and try to sell us the results for our precious emusic credits. Sorry but that's what it sounds like to me. I wouldn't call it genius, but typical indie pop hype with no substance. The kind that keeps showing up in Pitchfork's wallet these days. But, if you dig it, then dig it.

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eMusic Guide to Kranky Records

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Kranky's great skill is escapology; it's practically defined by its ability to evade definition. If there is received wisdom about the Chicago label, it's as a home for abstracted guitars, moody soundscapes and occasionally spiky electronic beats: all very serious, very studious, very intense. Maybe when Bruce Adams and Joel Leoschke founded it in 1993, it could have been pegged as an indie label that tended toward the experimental — but with each release it… more »

They Say All Media Guide

Bradford Cox was a virtual song machine during the time between Deerhunter’s Cryptograms and the Atlas Sound’s Logos, churning out officially released material as well as plenty of songs only available on his blog. Over that span of time, he became a finer and more fluid songwriter, and his music emerged from the experimental fog of his earlier work just enough to give listeners tantalizing glimpses of almost ridiculously catchy songs. Logos keeps this push-pull between challenging and charming, yet Cox’s second solo album still feels more experimental than Deerhunter, if only because he seems completely unfettered by any kind of rules or concerns about consistency. These songs barely sound like each other, yet they all sound like Cox. Logos comes into focus slowly with its first three songs. “The Light That Failed”‘s hazy atmospheres slip effortlessly into “An Orchid”‘s spectral recall of Microcastle’s psych-pop, but it’s “Walkabout,” Cox’s irresistibly sunny collaboration with Animal Collective and Panda Bear’s Noah Lennox, that announces that the album has truly arrived — it’s as sudden, and satisfying, as tuning in a perfect pop song from radio static. From there, the album hops from sound to sound, ranging from acoustic rambles like “Criminals” to glitchy confections like the kaleidoscopic “Washington School.” However, Logos’ most striking moment is “Quick Canal.” Stereolab’s Laetitia Sadier lends her instantly recognizable vocals, which pile atop spiralling electronics that stretch for nine minutes, yet somehow feel much shorter than that. And while the album is more abstract than most of Cox’s work with Deerhunter, it still favors his subversive pop side far more than his first Atlas Sound album, the insular laptop collages of Let the Blind Lead Those Who Can See But Cannot Feel. The sugary innocence of ’50s and ’60s pop remains a major influence here, especially on “Sheila,” which boasts a chorus (“we’ll die alone together”) that is equally sweet and unsettling. Even though Logos isn’t as polished sounding as some of Cox’s other releases, it’s still captivating in its relatively raw state. These songs are nearly as wide-ranging and comprehensive as an actual atlas, but Cox keeps charting new territory. – Heather Phares

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