Atlas Sound
Let the Blind Lead Those Who Can See But Cannot Feel
Kranky
originally published February 13, 2008
As if it weren't impossible in 2007 to not know every detail about Atlanta art-rock band Deerhunter, here comes the first record from frontman Bradford Cox's longtime solo project Atlas Sound. A lush, thoughtful 50 minutes, Let the Blind Lead Those Who Can See But Cannot Feel is infinitely more intimate, while moodier than the behemoth Deerhunter has become.
Cox recorded all of Let the Blind himself, utilizing a wide range of multi-instrumentation, including samplers, drum machines, guitars, glockenspiels and synthesizers. The result is 14 engaging, soundscape-saturated tracks. Often an ambient, My Bloody Valentine-inspired assembly, Atlas Sound also dabbles in electronica, with some tracks not far from trip-hop. There's also a later-period Jesus and Mary Chain influence on songs like "Ativan" and "Recent Bedroom," but less rock-filtered than those Scots. The outro of "Bite Marks" devolves into distorted noise that is one of the most surprisingly unhinged, raw moments on the album.
Lyrically, Let the Blind… differs little from many feelings and revelations Cox has discussed in various media. Most songs revolve around nostalgia, medical maladies and states of anxiety. Several songs are nothing but a singular couplet: "On Guard" merely proclaims, "Always on guard / I'm trying to make friends but I'm always on guard."
Cox takes Atlas Sound on the road with additional members starting this week, and it'll be interesting to see if they'll keep to the rigidity of the Let the Blind… or free up and improvise. Either way, for a first effort (though one Cox has been preparing for years), Atlas Sound is currently a completely realized, thrilling project that may outdo predecessors.
Atlas Sound is performing at the 40 Watt Club on Saturday, Feb. 16. See feature here.
G. Da War Don
The D.O.P.E.
Independent Release
originally published February 13, 2008
The D.O.P.E. is easily found being peddled in G. Da War Don's Iron Triangle neighborhood, but this time it's the former half of the eponymous rap duo's debut solo album, rather than any form of drug for sale.
Featuring 20 tracks completely produced and mixed by G., The D.O.P.E. (which apparently stands for The Decade of Planning Executed) is a hood tale set with lyrics that are sympathetic more than glorifying, vivid and detailed more than simplistic and disconnected. It's obvious G. knows, and cares for, his neighborhood, wants to see the success of everyone in it and tries to make the residents' stories known.
"9-15-03 (Do U Know)" details a violent incident and where to go and how to go on from there. "City of God" stretches further west to express dismay about federal response to Hurricane Katrina. Oddly, G. has a fascination with death, rapping in opener "I Am," "If hip hop is dead, then I'm the necromancer," and comparing himself to Lisa Lopes and Tupac in "The D.O.P.E. (The American Way)." Most of the album is more socially and politically aware, so it's not a demerit, but strange enough to deserve a mention.
The D.O.P.E.'s production is fluid and bouncy, and not afraid to use that New Orleans snare. While nothing spectacular, the beats serve G.'s raps well, and whether intentional or not, he's never weighed down by them, rapping alongside them instead of under them. The album also features credible appearances by locals Young Hooks and M.D.
The D.O.P.E. is a great first outing from G. Da War Don gone solo, and though there's a lot of Southern rap haters out there (sometimes for good reason), G. steers clear of bullshit and lays it down succinct and honest.
Justin Brogdon
Justin Brogdon
Independent Release
originally published February 13, 2008
Justin Brogdon needs an editor. One entire panel of his debut album is covered with thank yous stretching from side to side, and while his bluesy tunes might inspire some foot-tapping initially, the goodwill wears thin at four minutes and evaporates entirely at five. Even if it's a good story - he started out with singer-songwriter gigs here in Athens, experienced heartbreak and disillusionment, tried to punch the clock, then realized he had to pursue his dreams after all - that doesn't mean it can't be trimmed a bit.
Producers Don McCollister (Sister Hazel, Indigo Girls, Shawn Mullins, Third Day) and John Kurzweig (Creed, Puddle of Mudd, Jewel) shaped Brogdon's tales of romantic entanglement, beer-drinking vacations and artistic pursuit into ultra-radio-friendly packages that sound quite a bit like all their previous artists processed into a smoothie. There are catchy riffs ("Freeway") and kicky meditations on place ("Big Fish"), but the music is mostly fairly chill, if perhaps containing a few too many wa-wa's and the occasional wankeroo guitar solo.
Brogdon's vocals, while seemingly genuine, are one place things go astray; he can be so committed to selling you a particular emotion that he overdoes it. "Living the Dream," for example, trails off into wailing guitar and equally wailing singer, neither making much sense. Still, on the whole, it's decent outdoor festival music, the kind you can nod your head to while waiting in the beer line, and Brogdon's affection for his current hometown is nice to hear.
Vampire Weekend
Vampire Weekend
XL Recordings
originally published February 13, 2008
Vampire Weekend is a band fired with no pretense to ascend the fabricated ranks of the music world and dominate the airwaves (or what's left of them). They are accessible, friendly, and emit the cool calm that so many out of that NYC gauntlet tend to carry around. They're refreshing.
Bloodless catchphrases gives some perspective on the band's sound; "Paul Simon's Graceland! African rhythms! Clean guitars! Schoolboy naiveté!" are all comparisons and comments with which I've come to terms. These are apparent on first listens, but to go beyond is to fall in love, and you can do so by sharing this band with as few people as possible, because early love is selfish. Then love for it will bloom and maybe the world around you deserves it. You'll say a few things to extended family. Whisper a few lines to friends cuddling drinks at the bar. There is a good possibility that Vampire Weekend might do this to you. The group has created a strain of simple melodies that bring in the breeze and settle the churn in your stomach. These folks keep it light, poignant and playful with all the mess of new musicianship carrying a clear vision of craft.
It's not all unjustified, but for the most part, the Internet "buzz" about this band is orchestrated jargon to incense the masses to consume when simply, whether it's free or not, the Internet can be a terrible way to go about "discovering" new music. It might be almost radical in this day and age to say, "Pay for your music." But do so with utmost precaution and research, which means use the free tools, go to shows, and meet the bands to get the form of truth that will settle best with you.
You can't avoid the soundtrack that's in your head; it's got to come out.
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