Spanning approximately 70 minutes with 11 tracks, Bromst is an album of truly epic proportions. If you liked "Wham City" from 2007's Spiderman Of The Rings, you'll love the 7-9 minute tracks that anchor the album amidst the frenzied, chaotic pieces we've come to expect from Dan Deacon. It seems as if he's taken all the best elements from Spiderman and expanded and reworked them into a masterpiece of pulsating chipmunk-synth dance music. Just like he promised, however, a much greater range of emotion is included, and new tricks and experiments were also thrown into the mix to create a sound that is both familiar and new. Fans of "The Crystal Cat" will love the fast-paced, chirruping sounds of "Red F," "Padding Ghost," and "Woof Woof." Tracks like "Surprise Stefani" and "Baltihorse" are much gentler compositions, with beautiful layers of synthesizers, bells, and chimes (like "Big Milk" except on a much larger, more grandiose scale.) The centerpiece of the album, however, is the pair of back-to-back epics found a few tracks in. Both of these feature new styles and new source material for Dan Deacon: he arranges tiny segments of sound and arranges them in a rapid sequence, similar to "Orphaned" by Max Tundra (to which I dedicated a much earlier post), in the grand finale of "Snookered" and uses a chorus of tribal vocals as the backdrop for "Of The Mountains." The only new thing that didn't work out amazingly well was "Wet Wings," which consists of several layers of the sounds of women wailing and not much else. It feels out of place amidst the highly-polished, carefully constructed electronica that comprises the rest of this incredible album. I'm sure there's going to be a lot of hype about this album as it gets closer to the date, but you can be assured that it deserves every bit of it.
Friday, February 27, 2009
Bromst
OK, I knew this was going to be good, but I didn't know exactly how good. Bromst, the new album from Dan Deacon which will officially be released on March 23rd, turned out to be one of the best things I've heard in quite awhile.
Spanning approximately 70 minutes with 11 tracks, Bromst is an album of truly epic proportions. If you liked "Wham City" from 2007's Spiderman Of The Rings, you'll love the 7-9 minute tracks that anchor the album amidst the frenzied, chaotic pieces we've come to expect from Dan Deacon. It seems as if he's taken all the best elements from Spiderman and expanded and reworked them into a masterpiece of pulsating chipmunk-synth dance music. Just like he promised, however, a much greater range of emotion is included, and new tricks and experiments were also thrown into the mix to create a sound that is both familiar and new. Fans of "The Crystal Cat" will love the fast-paced, chirruping sounds of "Red F," "Padding Ghost," and "Woof Woof." Tracks like "Surprise Stefani" and "Baltihorse" are much gentler compositions, with beautiful layers of synthesizers, bells, and chimes (like "Big Milk" except on a much larger, more grandiose scale.) The centerpiece of the album, however, is the pair of back-to-back epics found a few tracks in. Both of these feature new styles and new source material for Dan Deacon: he arranges tiny segments of sound and arranges them in a rapid sequence, similar to "Orphaned" by Max Tundra (to which I dedicated a much earlier post), in the grand finale of "Snookered" and uses a chorus of tribal vocals as the backdrop for "Of The Mountains." The only new thing that didn't work out amazingly well was "Wet Wings," which consists of several layers of the sounds of women wailing and not much else. It feels out of place amidst the highly-polished, carefully constructed electronica that comprises the rest of this incredible album. I'm sure there's going to be a lot of hype about this album as it gets closer to the date, but you can be assured that it deserves every bit of it.
Spanning approximately 70 minutes with 11 tracks, Bromst is an album of truly epic proportions. If you liked "Wham City" from 2007's Spiderman Of The Rings, you'll love the 7-9 minute tracks that anchor the album amidst the frenzied, chaotic pieces we've come to expect from Dan Deacon. It seems as if he's taken all the best elements from Spiderman and expanded and reworked them into a masterpiece of pulsating chipmunk-synth dance music. Just like he promised, however, a much greater range of emotion is included, and new tricks and experiments were also thrown into the mix to create a sound that is both familiar and new. Fans of "The Crystal Cat" will love the fast-paced, chirruping sounds of "Red F," "Padding Ghost," and "Woof Woof." Tracks like "Surprise Stefani" and "Baltihorse" are much gentler compositions, with beautiful layers of synthesizers, bells, and chimes (like "Big Milk" except on a much larger, more grandiose scale.) The centerpiece of the album, however, is the pair of back-to-back epics found a few tracks in. Both of these feature new styles and new source material for Dan Deacon: he arranges tiny segments of sound and arranges them in a rapid sequence, similar to "Orphaned" by Max Tundra (to which I dedicated a much earlier post), in the grand finale of "Snookered" and uses a chorus of tribal vocals as the backdrop for "Of The Mountains." The only new thing that didn't work out amazingly well was "Wet Wings," which consists of several layers of the sounds of women wailing and not much else. It feels out of place amidst the highly-polished, carefully constructed electronica that comprises the rest of this incredible album. I'm sure there's going to be a lot of hype about this album as it gets closer to the date, but you can be assured that it deserves every bit of it.
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