His cult fame as frontman of experimental rockers Deerhunter has rewarded momentum to Bradford Cox’s solo project Atlas Sound. Still active in both endeavours, Cox works on the mantra that time waits for no man, and has churned out eight albums since 2005.

Like Deerhunter’s gradual break from earlier experimental records to the much more lucid Halcyon Digest in 2010, Cox has similarly delivered Parallax as a much more articulate and solid piece of work. This isn’t to say the twelve songs are awash in a sea of sameness or even regularity. But had some of these appeared anywhere among some of the mainstream rock acts in the last fifty years, they would have had no trouble making their way into the mainstream psyche.

For example, ‘The Shakes’, in which Cox sings through the mind of a musician weary of fame, sets a classic melancholic David Bowie sentiment to a 50s track. However, a song like ‘Te Amo’ reeks of 80s light synths, intermittent electronic bass notes and echoed vocals. The same can be said for ‘Modern Aquatic Nightsongs’, which is one of the simpler and stripped down tracks.

Title track ‘Parallax’ and ‘Lightsworks’ visit 60s psychedelia, with the latter in particular using the harmonica to a muted Bob Dylan effect.

‘Mona Lisa’, which features MGMT frontman Andrew VanWyngarde, is one of a number of songs that, in contrast to the darker Atlas Sound back catalogue, is an uncomplicated but catchy indie-folk jingle of a song. In similar fashion, ‘Praying Man’ is given edge by the simultaneous verve and strain of Cox’s voice. ‘My Angel is Broken’ also conveys the same solemn but hopeful sound.

Cox continues to channel and challenge his influences; he’s a true pupil of rock music. The thing that Cox excels at most is how he uses his voice; he creates melodies with his vocals, and always compliments his intricately constructed instrumentals instead of just following them. It’s how he can stand to be influenced by such an eclectic range of music and still sound interesting, dreamy and timeless.