Atlas Sound "Parallax"

I didn’t have much to say about the last album, and not because it was bad; it was not my favorite, but it was also above my power to describe it. I’m not going to lie and say that this song gives me “The Shakes,” but my muse recognizes a more up-tempo starlight. Can light change tempo? The “Amplifiers” are rarely needed in what sounds like a song reliant on distortion, and open to relaxation and introspection; maybe even smoking something. The song’s main arpeggio sounds like a mutated default ringtone, but that is an observation and not a negative criticism, por que “Te Amo.” When I comes to “Parallax” it refers to apparent distance by different positions, but in this song it refers to the amount of pain one person has brought two different people. Does it seem like Chino Moreno decided to cover vocal duties for these “Modern Aquatic Nightsongs?” That is a serious question. The song seems to rely on the piano much less than the simulated hypnogogic effect created by what is present besides; at first I thought the song stunk, but after a few listens realized that it is much better than first thought. Then what follows seems to be one of the most energetic cuts off the record; so what seems to be a false sense of falling asleep is merely fading into a state of focus on those thousand galaxies floating behind the “Mona Lisa.” This “Praying Man” may sound like any other, but there is more to the story if you take the time to listen. “Doldrums” seems to be appropriately titled, but does anyone else see that there might be a floydian influence? We get it, your “Angel is Broken.” The next song may not take us to “Terra Incognita,” but instead seems to bring us to another state of mind, or instead to sleep on this train of mine. The last 2 and a half minutes of “Flagstaff” are purely instrumental in doing the opposite of preparing you for  some vibrant “Lightworks” in this harmonica-tinged Roy Orbison-esque cut. The Shakes, Te Amo, Parallax, Modern Aquatic Night Songs, Mona Lisa, and Lightworks.