Atlas Sound
Logos
(Kranky, 2009)

The promo version of Logos, the second full-length release in two years from Atlas Sound, comes with an explanation written by the album’s creator, Deerhunter frontman, Bradford Cox. Considering his prolific nature and the turmoil surrounding Logos (Cox accidentally leaked an unfinished and unmastered version of the album through his blog and lashed out at fans who downloaded it), it is understandable that Cox would want to define the album in his own words for the listener, to elucidate what sets it apart both from Deerhunter albums and from the rest of the Atlas Sound catalog, which, on top of the debut LP, includes several EP and split EP projects all recorded since 2006.

In his account, Cox revisits the controversy over the album’s leak, and explains that it nearly caused him to scrap the entire thing. But releasing an album so different in spirit from his previous work—the lyrics are decidedly non-autobiographical and the songs on Logos are inherently external reflections of the world rather than communications of Cox’s inner visions—was obviously cathartic for the musician.

Atlas Sound has been relegated to side-project status in so many ways—the big, ambient pomp and circumstance of Deerhunter’s live sets is countered by the quiet vulnerability of an Atlas Sound set—and so it’s become an outlet for Cox’s whims. But Logos comes just after Deerhunter’s September announcement that they are officially on hiatus, and with that change in tune and focus, this could be the moment for Atlas Sound to become more than just a bonus for serious Deerhunter fans. It could be Cox’s creative bread and butter for a while and our best channel into his stunningly sonic musical scenery.

There is a community theme to Logos previously missing from the reclusive Cox’s laptop-in-the-bedroom opuses. Musicians Cox befriended on tour lent their inspiration and skill to his compositions, and the songs with collaborations are the highlights of the collection. Sasha Vine of Sian Alice Group contributed her ethereal violin to the organic-sounding “Attic Lights”, and the scratchy string sounds act as a grounding wire for the gentle acoustic guitars that make up the majority of the song’s instrumentation.

“Quick Canal”, which includes vocals contributed by Stereolab’s Laetitia Sadier, is both a misnomer—the track clocks in at 8:38—and aptly titled for its steady, rushing feeling. It is like a nearly nine-minute long ride down a summery, psychedelic waterslide, with a foundation of accelerating solid noise that opens up overhead to let in the warm, solar rays of Sadier’s voice.

Noah Lennox stops by to contribute to Logos, and his track, “Walkabout”, is by far the album’s best. It’s inspired by the Dovers’ track “What Am I Going to Do”, which struck Cox suddenly when it came up in an iPod game invented on tour with Animal Collective. Contrasting the otherwise submerged vocals and oddball sound effects on Logos tracks, “Walkabout” is focused and fun. The melody is whimsically repetitive, a lighthearted-sounding sing-along, and scattered, hummed backing vocals tease marching, precise, high-frequency synth noises in a perfect case of opposites attract. “Walkabout” seems to best find the levity and freedom that Cox was seeking when he made Logos.

Outside of “Walkabout”, Logos rambles in a pleasant way. It sounds like the soundtrack to 8mm home movies from someone’s world travels, evocative without being forceful or distracting. And with the controversy mostly forgotten by now, Logos is the purifying brainchild of a hard-working musician who deserves his moment of peace.

Listen: Various Tracks [at myspace.com]