Far from being a bedroom/basement savant with a four-track recorder,
Dan Deacon studied electronic music in college. Yet Deacon’s music is
neither dry nor academic — he’s as influenced by Devo and 1980s
synth-pop as by American maverick composers Conlon Nancarrow and
Raymond Scott. No gloomy, down-tempo, or ambient electronica for this
lad — his layering of sounds and voices (found and original) is
predominantly playful and brisk.
While it’s short on memorable melodies — except for the first
track, the psychedelic mini-symphony “Build Voice” —
Bromst more than makes up for it with personality, wit, and
sheer giddiness. Beats — alternately simply bubblegum-y and
marching-band strict tempo — usually begin slowly, giving way to
jackhammer drum ‘n’ bass tempos. Then, a choir of voices swoops down
from cartoon heaven, singing backwards and forwards while riding the
rhythm. Instrumental sounds constantly loop and overlap each other. The
most powerful track, “Wet Wings,” features samples of a woman singing a
capella, and the overtones of her voice evolve into a lush, beautifully
disorienting wonderland recalling the choral music of the late
György Ligeti.
Depending on your mood, you’ll likely find Bromst
invigorating or fatiguing. (Carpark)
