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Maturity can be dangerous to your artistic health, but Bromst shows the right way to mature--broaden your vision while still spending plenty of time on what you do best.
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Alternative PressOn Bromst, Deacon's confidence shines through as he effortlessly combines extremes. [Apr 2009, p.142]
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BlenderHe's a master of sweaty hyperventilation, but it's his less frenzied moments--the techno equivalent of circular breathing--that keep the party from collapse. [Apr 2009, p.59]
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To conclude that Bromst is a triumph of inventiveness is too easy. It is wildly inventive, but what impresses most is that for all the levity, Dan Deacon has managed to impressively reign in his flights of fancy.
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FilterThe success of Bromst is in Deacon's ability to stretch his compositions out, giving space and finding a better bridge between saccharine hooks and sampling experiments than he was able to provide on his previous LP. [Winter 2009, p.98]
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Minor grumbles aside, Bromst is a thrilling, hyperactive album that runs from calm and composed to frantic and frazzled, usually within the space of an intro.
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Either way, this latest effort is set to be interpreted more ways than the Qur'an and see him sat atop an almighty fence pushing anyone who hears it either side with reckless glee.
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Bromst is an excellent followup to a slightly more-excellent debut, and proof that Deacon isn't going anywhere.
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This muscular follow-up ratchets up the internal tension until his exuberant toy-town techno becomes a shot of pure musical adrenalin.
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The music becomes something like a natural process: one clean, simple sweep, but built from an insane complexity of detail. And there's enough to un-knot in there to make this a terrific step for Deacon--out from the sticky basements into a space where he can try to tackle the sublime.
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Sure, Bromst is a terrific album--it largely builds on "Spiderman of the Rings," injecting Deacon’s manic compositions with a depth and complexity that challenge lazy readings of his work. However, it still feels more like a transition piece than a destination.
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Bromst annihilates all the expectations that have come to be expected of Deacon, without abandoning what made him everyone’s favorite dance-party czar.
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Even at his most contemplative and nuanced, Deacon remains a DIY trickster at heart.
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Deacon nips the synthetics that allowed Spidermanâ??s sandpaper production to grate, opting instead for smoothly textured layers, a trick that strengthens a brilliantly executed dance album into dramatically structured art.
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These are thick songs built around left-field ideas, positively fat with melodic contentâ??physically shake the record, and sheets of notes would probably spray out like a colorful rain of tonal Skittles.
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Itâ??s the hyper-distinguishable leap from idiosyncratic-but-lovable to just-plain-lovable that makes Bromst--and Danny Boy himself--of increased import.
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Under The RadarIt's Deacon's most ambitious collection of recordings to date. [Winter 2009, p.71]
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Right from the get-go, whatever "community" Deacon was aiming for seems to be established--the music is inclusive, it's warm, and it invites you in rather than thrusting itself at you, unlike previous Deacon works.
User score distribution:
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Positive: 19 out of 21
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Mixed: 0 out of 21
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Negative: 2 out of 21
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JaumeRMar 26, 2009A f*cking ten. One of the albums of the year. Cosmic.
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May 15, 2011This review contains spoilers, click full review link to view.
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RileyT.Oct 5, 2009