Not having enough material has never been a problem for Bradford Cox. When Deerhunter released Cryptograms a few years back, they quickly followed it up, and packaged the vinyl, with Flourescent Grey. Cox bundled the first Atlas Sound album with the Another Bedroom EP. After Deerhunter’s Microcastle leaked months in advance, the band slyly released one of the best records of last year with the equally as epic Weird Era Cont. Throw in Rainwater Cassette Exchange, a dozen or so virtual 7-inches, a handful of micromixes and all sorts of other Mediafire goodies and you’ll start to ask yourself, When does Bradford Cox sleep?

Apparently the answer is, never, as Cox, whose hotly anticipated Logos will be released next Tuesday. The album will come with a bonus EP of unreleased tracks and alternative mixes of Logos tracks “Ruben,” “Kid Klimax” and “Criminals.” However, don’t assume that when you go to FYE (that’s where y’all buy CD’s, right?) that you’ll automatically score the bonus EP with Logos. Wrong. The EP will only come with orders placed with Rough Trade, so bust out your PayPal password and send those hard earned digital dollars to Rough Trade. Scoop it here.

I mean…this just kind of speaks for itself.

Deerhunter’s frontman Bradford Cox is working on a new Atlas Sound LP, Logos, due to come out on October 20th. But he’s not doing it alone…he’s got Animal Collective’s very own, Noah Lennox (aka Panda Bear) as well as Stereolab’s Laetitia Sadier to fill in some guest spots on the upcoming LP. Here’s a little taste of what you can expect, a little note from the man himself:

“My last album was a bedroom laptop type thing. Very introverted. Logos is an album that was recorded all over the world. It’s nota bout me. There are collaborationns with other musicians. The lyrics are not autobiographical. The view is a lot more panoramic and less close-up. I became bored with introspection. This was also the case [for] Deerhunter’s ‘Microcastle’ LP, which was written during the same period.”

And also, “Almost everything you hear on the album is a first take. This makes it almost like a ‘live album’ where a band sets up in a studio and just rolls tape. There are songs on here i don’t even remember recording.”

Logos‘ Tracklist:

1. The Light That Failed
2. An Orchid
3. Walkabout (w/ Noah Lennox)
4. Criminals
5. Attic Lights
6. Shelia
7. Quick Canal (w/ Laetitia Sadier)
8. My Halo
9. Kid Klimax
10. Washington School
11. Logos

Holy shit. Ryan Schreiber, founder of Pitchfork Media, has been nominated as a finalist for The Time 100 Most Influential People in the World. Alongside Vladimir Putin, Pope Benedict XVI, Robert Mugabe, Barack Obama and Rush Limbaugh sits our very own indie compadre Mr. Schreiber. The article reads:

“His music-culture website Pitchfork is the Pravda of indie rock, steering opinion (and sales) with its infamously forthright record reviews; even its detractors can’t help but look at it three times a day. Among Pitchfork’s early finds: Arcade Fire, Interpol and Relevant Elephant.”

We always knew Wavves and Will Oldham were going to take over the world, we just didn’t know when. So it seems clear now, our cultural coup d’état is occurring with great fury! The zeitgeist of the 2009 will not be remembered for any sort of economic collapse, political strife or military engagements, but for the popularization of music freed from commercial interests and agendas! All Hail Bradford Cox!

But seriously, that’s awesome and great for Pitchfork. Here at the The Tripwire, we encourage write-in entries for our very own Derek Evers.

Wandering while the stage was being turned around for Deerhunter, we found the secret stash of free shit in the back, with Up The Antics doing screen-printing, handing out swag, and Rock Band set-ups for our inner guitar hero to emerge at. Also making an appearance was The Ice Cream Man who set up shop from within a car trunk and handed me a Teenage Mutant Ninja Turtle. I teared up a little bit at the sugary goodness at my fingertips, moving on to then gripe to my concert partner about my lack in smooth moves (“How do I know he’s hitting on me? And if I’m doing it back? WHY CAN’T WE JUST KNOW, OMG”).

But nothing could have prepared us for the audio that Deerhunter’s subwoofers were about to deliver to our asses. I think that perhaps I lost part of my right eardrum and all sonic-detecting capabilities for three days from the show. Massive layers and impressive walls of sound blasted throughout Mezzanine, and at one point I realized half of the audience was starting to move towards the back of the venue purely because the volume was that monumental. Singer Bradford Cox chatted with the audience in songs, though I was too distracted by his arms that seemingly had been swapped out for PickUp Sticks (Does he eat? Can I take him to dinner?).

Songs like “Nothing Ever Happened,” which carried more of a melody and catchy chorus, translated well to merit some toe tapping. I found myself comparing them to a less creepy Radiohead with Kasabian’s singer on vocals. But stuff like “Wash Off” nearly killed me, literally; I felt my heart panic from within my chest going “WTF dude!!” from all the reverb, and the guitars just swarmed all over the audience, being peaceful at first to then lay some serious assault. I walked out screaming at everyone unknowingly and hearing a “Beeeeeeeeeeeeeeeeeeeeeeeep” in between my ears. I think I need to start wearing ear plugs. Overall though, I was impressed with what the four-piece could deliver; I just think I’m going to stick to the MySpace page. Besides, I had to get to bed early anyway…happy hours awaited the next day.

Atlas Sound is Bradford Cox’s individualized catharsis. Irremovable from his art is his physical condition (Marfan Syndrome) and this reality is at the forefront of his work. Recorded at home, Let the Blind is a personal record, one that that challenges criteria for self-worth, and this quality is accentuated by Cox’s knack for letting specific sonic ideas reverberate into something vivid and powering.

“I’m waiting to be changed,” he repeats in “Quarantined” as the lyric gains awesome momentum with each reiteration. With seamless flow, the tracks weave into one another finishing with the instrumental title-track – a hazy, alluring backdrop with a continuous arpeggio. At its heart, Let the Blind is a deeply humanist record that refuses conventional social stigmas, repudiates the superficial, and demands truth and meaning from itself and others.

Kranky