Word: solo
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Dates: during 2000-2009
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...Cannot Feel,” overdose it on Adderall, add an actual beat, and put it over an open flame, and you get “Legos,” the newest psychedelic pop-rock album from Deerhunter’s Bradford Cox under his solo project moniker. Fusing acoustic guitar chords, haze-like ambient synth, trippy electronic beats, and a yin-yang of light and dark tones, Atlas Sound succeeds in escaping the ill effects of the dreaded sophomore slump, creating a lively, relaxing, musically adept and diverse second solo project. With an ideal balance of fast and slow...
...Kannberg became increasingly marginalized as Pavement became more and more an expression of Malkmus’ personal vision. Pavement’s final studio album, 1999’s “Terror Twilight”, contained no Spiral Stairs songs, and within two years Malkmus had launched a solo career—occasionally with backing band the Jicks—that has kept him squarely in the mainstream. Spiral Stairs, by contrast, released two albums with his band Preston School of Industry: two albums that, while pleasant and diverting enough, sank without a trace both in the market...
...mountains of clouds. In “Amelia,” flying is about freedom and joy, an attitude completely forgotten in our modern age, with its long security queues and, since 9/11, vague sense of menace. Today, Earhart’s career is incomprehensible—her solo flights, undertaken simply to set records and to gain publicity, may be viewed with suspicion by audiences unfamiliar with her life before her infamous disappearance...
...still their most perfectly crafted pop song to date, a stair-stepping piano outro elevates a jaunty beat to perfection; on 2001’s “I Don’t Know What I Can Save You From,” a gorgeous, transcendental violin solo strikes up around the three-minute mark. Every song on “Declaration,” on the other hand, pleases in almost exactly the same register from beginning to end. Kings of Convenience has never aspired to the shimmering textural distortions or swirling build-up of similarly laid-back bands...
...pivotal figure in the small world of American modernism. Stieglitz agreed to include them in a group show at his 291 gallery, the tiny cockpit of advanced art where O'Keeffe had seen those Picassos and Marins. They were an immediate hit. Two years later, he gave her a solo exhibition that made her name for good...