Dan Deacon - Bromst
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Music CD Cover
Artist: Dan DeaconEdition: Music CD
Audio: English (Unknown); English (Original Language)
CD Release Date: 2009-03-24
Music Label: Carpark Records
Soundtracks:
- Build Voice
- Red F
- Paddling Ghost
- Snookered
- Of The Mountains
- Surprise Stefani
- Wet Wings
- Woof Woof
- Slow With Horns / Run For Your Life
- Baltihorse
- Get Older
Free Music Notes for Bromst
Free Music Review: A Long Review for an Amazing Album
Hit: 5 Stars
It is chaotic. It is abrasive. It is amazing. From beginning to end, that was my impression of Dan Deacon's Bromst. Utilizing a seemingly endless supply of synthesizers and drum machines, the one-man band creates walls of sound that overwhelm the listener. This is not background music--it is not music you'd hear in a restaurant, or listen to while writing a paper, or even likely hear on the mainstream radio. It is aggressive, it is melodically complex, and it is driven by some of the fastest BPM drum loops I have ever heard in popular music.
As an ethereal loop of the human voice builds in the beginning of the first song, "Build Voice," one may get the wrong impression of what is to follow. But, as parts enter--vocals, keyboards, synthesized horns, and a single snare--the song begins to evolve in complexity; at the three minute mark, a very fast drum loop enters to remind the listener that he or she is listening to Deacon. The melodies in the song are intriguing, but what makes this piece and the rest of the album unique and brilliant is what else is going on--there are at least other five distinguishable parts, a blend of vocals, synthesizers, and drums. And this is just the beginning.
One of the unique aspects of Deacon's work is his use of rather harsh sounds. For instance, the second track on the album, "Red F" starts rather blaringly with what sounds like a broken or dislodged speaker cable--a distorted and droning noise which would usually be stopped immediately if encountered in everyday life. Instead, Deacon has built a song around this sound, utilizing the droning nature of it as an anchoring bass line. Beneath layered keyboards, drum loops, and distorted vocals, the sound fits perfectly into the piece. A similar concept, utilizing a very low-fi distorted and droning bass line is used throughout the album; as in "Red F," it provides some stability in the otherwise layered, hectic tracks.
Two other Deacon signatures are used throughout the album as well: pitch-shifted vocals and melodic, synthesized arpeggio lines. Deacon's use of pitch-shifted vocals are exemplified in "Baltihorse." Layered, distorted vocal lines are pitch-shifted up so they sound more like they are sung by Alvin and the Chipmunks than a thirty year old man, but overtop of the rapid xylophone-like synthesizer and a driving snare drum the song is clearly the work of Deacon. These vocals are also often shouted, making them quite unique as they fit into each piece. The vocals are also interwoven into each piece, instead of being decibels above all else; as a result, the digitized vocals act more like another synthesizer layer than vocal lines in a radio-friendly pop song. The last track on the album, "Get Older," exemplifies not only digitized vocals but also Deacon's use of synthesized arpeggios. At the one minute mark, a repetitive arpeggio loop enters to establish a melodic line which is the foundation for the rest of the piece. Though it fades in and out under different layers in the piece, the arpeggios are present in the majority of six minute song.
Among the tracks in Dan Deacon's signature style, there are gems which differ in both style and instrument usage. The almost eight minute epic "Surprise Stefani," for instance, relies much less on distorted layers and digitized vocals and much more on swells of single sounds. The piece begins with swells similar to that of early electronic music, such as that by Vladimir Ussachevsky. As the piece evolves, seemingly nonsense vocals lines complicate the piece without overpowering it or shifting the mood. This more complicated middle section lasts about two minutes before fading back to swells of synthesized pitches. At the six minute mark, the piece once again evolves as Deacon's utilizes a rhythmic xylophone-section; the section ultimately ends the piece as other sounds are faded out to only leave a repetitive but beautiful xylophone part.
"Wet Wings," the track following, also differs greatly from stereotypical Deacon. With layered female vocal lines, the call-and-response style of the piece somewhat resembles a traditional work song. It is beautiful and wonderful, but it is far from the distorted synthesizers and drum machines which have made Deacon famous. The song acts as a break before Deacon's signature style enters in full force in the next track, "Woof Woof," which once again overwhelms the listener in the uniquely Deacon style.
With an hour of music spanning eleven tracks, Deacon's Bromst is undoubtedly an epic work. With the onslaught of synthesizers and drum loops, listening to the album in one sitting feels like a marathon at times. It is overwhelming and yet the listener wants nothing more than to keep going, and that is exactly what makes Deacon's Bromst and the rest of his work so amazing.
Bromst Poster
Fusing the growing intensity of his live performances with his background in electro-acoustic composition, the result is a collection of pieces that are intense and epic, and at the same time, down to earth and welcoming. Unlike the completely electronic "Spiderman Of The Rings", the instrumentation on "Bromst" is a mixture of acoustic and mechanical instruments, samples, and electronics. The intricate and complex parts are woven together into a rich, dense, noisy dance pop that has become Deacon's signature sound.Alternative Rock Music CDs
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