Upon delving into Atlas Sound's debut album, one is redirected into a new realm -- one that emphasizes feeling rather than visual aesthetics. The solo side project of Deerhunter's Bradford James Cox, Atlas Sound's premier attempt has utilized its medium and created an album that is, quite literally, for the visually blind but orally present.
Garnering rave reviews from critics, Let the Blind Lead Those Who Can See But Cannot Feel is the first from Atlas Sound, brainchild of Deerhunter's lead singer. Cox, an intriguing character, has said to Pitchfork Media, "I just do my s***: I don't give a f*** if people like it, I don't give a f*** if they don't. We're not going to be rock stars ... What the world needs now is noise in a pop song. The world needs to give in a bit to psychosis, to the mentally ill." And that's exactly what he's done with Let the Blind, leading critics to call it one of the year's best albums thus far. Mixing a persistent, passionate sound with poignant lyrics, Let the Blind introduces audiences to a more desperate Cox, with almost a hint of psychosis lingering in the back of your mind as you lose yourself in Cox's overpowering noise -- for lack of a better word.
After going on hiatus with Deerhunter in 2007, Cox took his experience with the band -- a self-described "ambient punk" sound -- to create a complete album of noise pop in tune with that original ideology.
The album starts out with "A Ghost Story," a disarmingly innocent recording of a young boy telling his ghost story set to music. Setting the tone for the rest of the album, this piece creates an overall mystical, haunting affect.
The entire album seems to be a sounding board for Cox, whose inner dialogue is revealed throughout the 14 tracks. Many of the lyrics are wistful and sad, conveying the listener through lost love and addiction. An overriding character in the album is Lockett Pundt, Cox's best friend, album collaborator and source of lovelorn despair. Three songs explore Pundt's effect on Cox, from their first meeting in "Winter Vacation" to Cox's refusal to deal with Pundt's new relationship with a girl. Instead of dealing with the pain, Cox turns to drugs in "Ativan" to sleep the issue through. Other songs look to articles and folk stories for their inspiration. My personal favorite, "River Card", is based on a Puerto Rican short story, "There's a Little Coloured Boy at the Bottom of the River." The overall sound is enchanting, and the lyrics stick in my head until I can see the little boy falling in love with his reflection and jumping in (reminiscent of Narcissus myth). Ending with the title track, Cox leaves his audience with a lyric-less track, one that returns to the haunting sound "A Ghost Story" introduces. The album sticks solidly to its intent by turning full circle, drawing the listener in by tugging in his ears.
Ultimately, the sound reminds one of stumbling into a My Bloody Valentine album rather than a Deerhunter spin-off. While Cox's wailing is present, there is less upbeat pop and more mystical noise. As Cox's crooning blended into the feeling of the music floating around my head, I can only imagine what he will concoct next. His mind is sharp, his lyrics enchanting, and, despite his refusal to conform to indie-rock stereotypes, he has won over the music world with his oral imagery and invasive sensations.3
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