Dan Deacon – Bromst

Though the event occurred over forty years ago, the phrase “Dylan goes electric” is still a familiar one, fraught with heaps of meaning. Unaware that he was about to help shape the direction of both folk and rock-n-roll, Bob Dylan decided, at the 1965 Newport Folk Festival, to set down his acoustic guitar and perform a few numbers on electric guitar with a full-on blues band. The resulting furor from the crowd during the electric portion of Dylan’s set, not to mention the existing controversy regarding the true source of the crowd’s ire, remains steeped in musical lore. At its core, “Dylan goes electric” remains both the centerpiece to an engaging story and a word of caution to any musician seeking to step outside his/her typical sound and attempt something different.

However, if the amazing music on Bromst is any indication, it would seem that Dan Deacon used Dylan’s original sonic experiment as a focal point for setting about to experimenting with his own range and limits to his style. Anyone with the slightest of pinkie toe on the pulse of pop music culture is familiar with Deacon’s frenetic, kinetic brand of dance-pop and the frenzied live performances of his songs. But immediately upon the first play-through of this new record, it’s readily apparent that Deacon made the conscious decision to set aside a few of his electronic devices and invite along a few of his friends to contribute their aptitude on more traditional musical instruments.

The result is the most grown-up set of songs that Deacon has ever created: Bromst is filled with xylophones, horns, strings, pianos, and a vast assortment of pitched percussion appliances, giving his synthesizers and electrical oddities a heretofore untapped depth that is rich, organic, and instantly accessible. The same sense of playful exuberance that carried Spiderman Of The Rings to the top of many best-of lists in 2007 is still more than present, but the breadth and detail of songcraft displayed here should vault Deacon to a new zenith in the indie lexicon.

The album begins with “Build Voice” and the song does exactly that as it provides the listener with the first glimpse into the new voices that will be joining Deacon on the record. Tracks like “Snookered” and “Woof Woof” find Deacon channeling Win Butler by making dance-pop in the mold of indie-rock – the songs start with a peaceably slow tempo, build to a driving middle with big drums and walking piano arpeggios, and then growing to an epic climax.

“Of The Mountain” is my favorite cut on the record as a xylophone and tribal percussion meet with Deacon’s synthesizers to create a huge, groove-laden, trippy anthem. The funk-laced dance-pop of “Surprise Stefani” is also worth noting, as it pulses and builds with an intense energy worthy of any dance floor, yet ends on a light, sugary note. Bromst comes to a fitting conclusion with “Get Older,” as the myriad tastes, tones, and textures that fill the album crash into each other on a singularly tremendous dance number.

All told, it appears that Dan Deacon has truly hit his stride on Bromst – it’s a new hybrid form of symphonic dance-pop (post-dance-rock?!?) that might alienate the old fans, but stands to attract a multitude of newer ones . To put a finer definition to my claim, I would have to say that Deacon has cast aside his hyperactive, court jester routine to reveal an accomplished auteur worthy of any accolades (who still enjoys having a good time). So what if “Deacon went acoustic?” The music world might be all the better for it.