Long live the proverbial ‘neek’, for it is thanks to him that we can justify electronica. It’s not moronic and mind numbing, it’s highly intellectual and far too complicated for you; you could never understand it. And Dan Deacon is the king, mainly ‘cos he’s friggin’ cool too.
Deacon has been making sweet sweet music since 2003. His first two oeuvres, though largely unknown and unrecognised, consist mostly of instrumental tracks. Funny we should choose the word “instrumental” when all is done by electronic gizmos. He has indeed mastered the genre, managing to avoid the seemingly unavoidable “drug music” label, while still keeping his style integrity; no turning this into electro pop. It stays solid, loyal.
On new record ‘Bromst’, second to be released on Carpark Records and second to be generally acknowledged, Deacon brings some new and exciting tweaks to the table. It is not the first time he uses vocals, his vocals, but he also squeezes in someone else’s. Or should we say a whole group’s. On ‘Of The Mountains’, you can make out - amidst all the filler - chanting, high and low, but chanting nonetheless. You can’t make out what it’s saying or where it’s from, ‘cos the music’s too loud. It’s like being at a gig and not being able to hear your friend tell you about how he managed a boob-graze in the pit.
And live is very much what Dan Deacon is about. As part of Wham City, an art community in Baltimore, live is a true artistic experience to him. Concept. His gigs consist of him standing in the audience, his equipment stacked on a low table and everyone taking part. Recorded, it’s all just as exciting. Loud and intense, slow building and catchy. He has truly mastered the sound, he’s got the skills; the ladies will soon follow. Now who’s the neek.
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