DAN DEACON – Bromst (2009)

Dan Deacon - Bromst It took me awhile before I warmed up to Dan Deacon’s previous album, Spiderman of the Rings; I don’t normally come across music that’s as jubilant as it is obnoxious (and I mean that as a compliment – no, really). But looking back, that balance was what made the album work, even if it hindered my enjoyment of it initially. Because Mr. Deacon was free of the restraint of musical self-consciousness, he was able to craft some truly vivacious, whacked-out music. Like it’s predecessor, Bromst is equally vivacious and whacked-out. But it’s also remarkably expansive and cerebral, too, with a more detailed instrumentation and broader, occasionally surprising resonance.

Consider the song Wet Wings. Notice anything interesting about it? It unfolds in much the same manner as the Woody Woodpecker samples did that so caught the ire of many first-time listeners of Spiderman of the Rings (myself included). But here, it’s different; instead of feeling jovial, it feels murky instead. It feels mysterious, and (dare I say), a little frightening. And it’s totally entrancing. “Mysterious” and “entrancing” are two words that could describe a great of material on Bromst, particularly the opener Build Voice (which, as its title suggest, slowly emerges from nothingness, and concludes on a perfectly abrupt note) and the album’s clear stand-out song, Snookered (which feels to me like the Rhodes Scholar older brother of Wham City). And lest you think that Dan Deacon has lost touch with his inner child, the backend of Bromst won’t disappoint; Baltihorse and Woof Woof are two of his most joyously playful and entertaining songs.

In a recent studio interview, Dan Deacon was asked to describe what the title, Bromst signified. He replied that Bromst is like when a dragon wakes up, and he’s not horny, but could easily become horny. Then there’s a pause, just long enough for us to consider that statement. And then he laughs, saying that that quote shouldn’t be used at all. I bring this up only because something (and I’m not sure what) about that aforementioned interview snippet holds the key to what makes Dan Deacon’s music (and by extension, Bromst), so great.


5 Responses to “DAN DEACON – Bromst (2009)”

  1. […] not stand out as much as some other albums that have been released this year (like Two Suns, and Bromst), it’s a consistent album that never takes a wrong turn or tries to push itself beyond what […]

  2. […] anti-melodies. It’s an album that’s the polar-opposite of Dan Deacon’s <i>Bromst – instead of cascading layers of carefree delirium, there’s an unyielding, rudimentary […]

  3. […] like Bromst did for Dan Deacon last year, Heartland is special for the way it emphasizes qualities about an […]

  4. […] is a musical trick that’s been done for ages; it’s been used by everyone from Dan Deacon (on the song Snookered to A Silver Mt. Zion (on…well, most every song), but Anathema manage […]

  5. […] don’t have anything against music that’s agitating, if it’s done well (Girl Talk, Dan Deacon), but with Meds and Feds, it feels like M.I.A. is merely holding the song back from entering […]

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