The Red and Black

Issue date: 3/25/09 Section: Variety

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It is not uncommon for participating audience members in a Dan Deacon show to pronounce the experience the best of their lives.

In the past, Deacon managed this feat one-handed, looming over a table of electronics that propelled his entire live act - as well as his exuberant 2007 album "Spiderman of the Rings."

This time around, Deacon has behind him a slew of musicians and mechanical instruments in addition to his electricity.

This is "Bromst."

The album is a charging, twinkling cohesion that effectively captures the pure, epic essences of Fun and Joy.

But where "Spiderman" burst end-to-end with maximal party jams, "Bromst" crosses new lines and does some exploring.

Deacon's master's degree in electro-acoustic composition makes perfect Sherlock sense on this album.



Most of the album's tracks feature discrete elements that are introduced in increments. Crescendos build from nearly nothing or great big buzzing tones - exemplary of the way "Bromst" experiments on into the sunset.

Hot, pulsating beats follow and flutter in and out of tracks as Deacon builds up his creations to ecstatic climaxes - only to tear it all down and do it over again.

The irrepressible "Paddling Ghost" sees a chorus of Deacon-voiced kittens mewing the lyrics in synchronization, a Deacon signature.

In an instant, the cat chorale is overtaken by a human, authoritative Deacon, who slings exultant proclamations left and right.

It is one of the album's most triumphant moments, and it invites the listener's outstretched arms to grasp upwards toward the sky, summoning the ultimate party within.

Other tracks bide their time with a calm that's composed of shining, silvery warmth. They swell and simmer for a time, although Deacon seems unable to contain the essential ebullience for long.

Such is "Bromst."

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