Much has been said about Dan Deacon’s hugely anticipated follow-up to 2007’s highly caffeinated debut album, Spiderman of the Rings. Deacon himself told the press that Bromst, the sophomore album in question, is a departure from SOTR, something darker and wider in scope. Fans of the first album need not worry, though, because he is still the same adventurous and fearless Dan Deacon of old. Only this time he’s not alone; he’s got a full band and a piano player that churns out impossibly fast melodies. The resulting sound is denser and smoother than anything he has previously recorded. The album is hardly as dark as Deacon lets on, but it is certainly less exuberant and more subdued in tone. It’s a more adult record from an artist I honestly don’t care to see grow up. But he hasn’t lost all of the charming silliness which made him stick out from the crowd to begin with. He is still much stranger than 99% of musicians, and almost as strange as the name he chose for this new record.
There is nothing here as blissfully joyous as his breakout hit, “The Crystal Cat”, which became a staple for spazzy nerd rockers everywhere thanks to its anthemic feel and a highly visceral music video. But the first three songs are a strong indication that Deacon still intends to get our backsides out of our chairs and dance. The first song, “Build Voice”, starts soft and gradually fades into the sort of full-on chant-a-long that Deacon fans have grown accustomed to. He applies the distinctive voice augmentation that makes him sound like a loony toon from the last record. His voice more than anything had separated his audience into two camps: one camp felt its presence enhanced his music, the other felt it was intolerably annoying and silly. Deacon shows no shame in retaining the quirky effect, which I personally find compatible with his surreal melodies and breakneck tempos. Yet, I can’t help but wonder what the hell he is saying half the time. The next two songs are heavy on percussion and, suffice to say, very danceable tracks. “Paddling Ghost” is especially vivacious thanks in part to its lively mallet-work, which is constantly thrilling throughout the record. Bromst gets particularly exciting on the final song, “Get Older”, which is a rocking blend of his vintage electronic sound and the intricate mallet compositions he is so fond of on his disc.
We’ve grown to expect this type of nonstop, barn-burning tunesmanship from Deacon, but his softer tracks are the most enlightening on the album. “Snookered” starts out with lush chimes and forays into one of the most lovely and audible refrains of his career: “Been wrong so many times before, but never quite like this.” Dan has rarely sounded so human—I always pictured him as at least part robotic. Listening to this epic track is like the musical equivalent of being on a roller coaster that has to slowly climb the mountainous tracks and which culminates in an exhilarating downhill plunge, some loop-de-loops, and other twists and turns. “Of the Mountains” feels like a continuation of “Snookered”; the second time is never as good, but at least there is less waiting this time. “Surprise Stefani” is certainly a surprise, featuring chants of “oohs” and “ahhs” which are processed into the machinery of the song, to create something borderline heavenly. “Slow With Horns” creates a celestial atmosphere much akin to “Stefani”, with its intricate piano parts no mortal fingers could dream of playing.
With this album it is about time audiophiles start taking Dan Deacon more seriously. Before, his silliness had covered up the fact that he is a very skilled musician and composer. His highly complex arrangements on this nearly flawless record are a testament to his genius. Now, he inspires us not only to dance, but to think, as well, which is a step in the right direction.
Track List
1. Build Voice
2. Red F
3. Paddling Ghost
4. Snookered
5. Of The Mountains
6. Surprise Stefani
7. Wet Wings
8. Woof Woof
9. Slow With Horns / Run For Your Life
10. Baltihorse
11. Get Older
