Kitchen sink rock from Cox

By Erin Mae Szrankowski
Collegian Editor
March 19, 2008

Bradford Cox is basically the man. He is profound as anything. On a weekly basis, he posts fresh material on his blog, Deerhunter/Atlas Sound/Lotus Plaza. The number of songs he has posted could fill up a few EPs. Cox’s music is beautiful, with its hints of spacey and dreamy elements. Also, Cox is in the ever-so-deserving-of-hype Deerhunter. In 2007, they put out Cryptograms, which received favorable reviews from the media. How could you not appreciate this guy? While making music, Cox is also suffers from Marfan Syndrome, which affects the bodily tissues. All in all, Cox can do no wrong.

Atlas Sound is Cox’s ambitious solo project. It enables him to get away from the more punky Deerhunter stuff and experiment with his own personal sound. On his own, Cox creates and records more experimental and ambient instrumentations. Don’t let the word “ambient” stop you. Cox recreates this sound and makes it melodically danceable. Think of a more drugged-out version of the Beach Boys out in space.

Atlas Sound’s newest release, Let the Blind Lead Those Who Can See but Cannot Feel, is a great representation of how much Cox loves music.

The album begins in an unorthodox manner. A child about the age of seven tells the listeners a ghost story, complete with muffled mom and dad commentary in the background. The musical arrangement eerily builds overtop this recording, until the child’s voice vanishes. As soon as the little voice disappears, a vibraphone can be heard being gently played on “Recent Bedroom.” After a short musical intro, Cox sings in a confused manner “I walked outside, I could not cry, I don't know, I don’t know why.” His voice trails off, leaving mysteries of why he was not able to cry. We are left to try and understand why.

“River Card,” is a personal favorite. The background music is solid and less spacey, leaving room for the use of other string-oriented instruments.

The amount of instruments Cox uses is innumerable. Some of the instruments I have never even heard of. For example, he uses instruments like the metallaphone and spring reverb boxes. I mean, have you ever heard of Modest Mouse using treated bells from Ghana? I would think not. Cox is not afraid to explore with his working materials.

Refined electric drum beats are prevalent in “Quarantined.” Cox starts off slowly saying “Quarantined and kept so far away from my friends. I am waiting to be changed.” Drum beats then proceeded to fill the background causing a danceable rhythm.

Songs after “Quarantined” become more movable and spacious in sound. The flow of LTBLTWCSBF is impeccable. All of the tracks belong together and the way they were arranged is brilliant. One can easily dance along to tunes like “Cold as Ice.” The string arrangement is a good reminder of the Dirty Projectors.

Let the Blind Lead Those Who Can See but Cannot Feel represents Cox’s brilliant flair for music. Who knows, he could become the next Brian Eno. This album is a good, refreshing listen and is perfect for those nights of diligent studying.

szrankowskie1@lasalle.edu