Bradford Cox often seems completely baked. When he sings, it sounds like he’s sucking a tin of spaghetti hoops through his front teeth. He remains an enigma: interviews are relatively rare and he doesn’t really do social media (his blog seemed to dry up around three years ago). His band Deerhunter are indie big hitters: prolific, consistently remarkable. His solo project Atlas Sound has remained in the band’s shadow, despite yielding three fine albums, the second of which, Logos, was released during a genuinely purple patch of creativity, sandwiched between Deerhunter’s two best albums Microcastle/Weird Era and Halcyon Digest. And I think it could very well be the best thing Cox has ever done.
The sleeve, a bleached flashlight image of a skeletal torso turned inside out must surely be Cox? He suffers from Marfan Syndrome – but here it looks as if someone has reached in and pulled his heart from his chest. It can sound that way too at times. Cox plays around with different styles and genres. He is clearly someone who lives and breathes music. His songs are readily identifiable – drifting shells of wasted reverie with ghostly voices (‘The Light That Failed’, ‘An Orchid’…) irresistibly infectious slices of dislocated rhythmic pop (‘Shelia’, ‘Logos’, ‘Quick Canal’ – a lengthy motorik thang featuring Letitia Sadler), malformed garage sludge (‘Kid Klimax’), cryptic psych-collages full of electro-magnetic signals (‘Washington School’) and retro doo-wop’n’roll delivered by Cox like a faded angel through a couloir of cracked reverb (‘My Halo’).
And then there’s ‘Walkabout’ the album’s showpiece, made in collaboration with Noah Lennox – a genius take on The Dovers’ obscure 1965 garage track ‘What Am I Going To Do?’ Mr. Panda Bear, as ever, sounds like he’s singing underwater, but like everything else on here the guiding hand is Cox’s. Ecce homo. Bradford Cox is the man and Logos his eternal word. (JJ)