9 Songs, 43 Minutes

EDITORS’ NOTES

Dan Deacon's electronic music works many different angles, far beyond what many similar artists consider their realm. The Baltimore chopper slices and dices his influences with irreverence, and America—his first album for the estimable independent label Domino—isn't afraid of getting tangled up in difficult emotions. "Guilford Avenue Bridge" sets the tone; it's an ambient instrumental that neither settles as wallpaper nor kicks up to raging ecstasy. Indie pop underpins the high-energy romp "True Thrush," while "Lots" and "Crash Jam" come closest to the pure mania most listeners associate with 21st-century electro-pop. With "Prettyboy," sounds start to boil over with a sense that something big and rather ominous is coming. And it arrives. The four-part "USA" series features a mix of programmed and live instruments that create an orchestral suite beyond anyone's expectations. "USA II: The Great American Desert" is a rumbling and tumbling epic with beats that flutter to and fro. Dan Deacon proves that electronic music can still be affected by a human touch.

EDITORS’ NOTES

Dan Deacon's electronic music works many different angles, far beyond what many similar artists consider their realm. The Baltimore chopper slices and dices his influences with irreverence, and America—his first album for the estimable independent label Domino—isn't afraid of getting tangled up in difficult emotions. "Guilford Avenue Bridge" sets the tone; it's an ambient instrumental that neither settles as wallpaper nor kicks up to raging ecstasy. Indie pop underpins the high-energy romp "True Thrush," while "Lots" and "Crash Jam" come closest to the pure mania most listeners associate with 21st-century electro-pop. With "Prettyboy," sounds start to boil over with a sense that something big and rather ominous is coming. And it arrives. The four-part "USA" series features a mix of programmed and live instruments that create an orchestral suite beyond anyone's expectations. "USA II: The Great American Desert" is a rumbling and tumbling epic with beats that flutter to and fro. Dan Deacon proves that electronic music can still be affected by a human touch.

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Ratings and Reviews

3.0 out of 5
228 Ratings

228 Ratings

mikeyrogers ,

Transcending.

Not sure what all the fuss is over. This is a spectacular Dan Deacon album. What was everyone expecting? Love the use of brass and string instruments. I feel crazy loopy while listening to it. And that's a good thing.

triangulartimmy ,

America

I'll be honest: his music isn't for everyone. I sit in the car listening to it and sometimes it hits me how crazy it is, but the feeling is almost immediately eclipsed by sincere gratitude that he makes the music he does. The new album, America, is fantastic. A lot of his music seems built to make people go absolutely insane at shows, and if you've been to one of them you know what I mean. True Thrush is incredible live, and that's where his music really shines. This is a high-energy, crazy album and it's not possible to listen to it without dancing (or at least cracking a huge smile).

As an aside, I noticed the other day while I was listening to the USA tracks at the end that Manifest sounds like manifest destiny, if it was to have a sound. Call me crazy, but those last four tracks do a great job capturing the complexity of what it means to be an American with all of the associated history and culture.

I love this album.

imthebaby468 ,

The next step

It's an amazing album. Deacon is creative and clearly pursues a sound that he wants in his music. This album is decidedly different and progressive, even for this artist. This has established him as a more serious musician, and that's a feat not so easily achieved. It saddens me to see this album get hasty harsh judgement, leading to a bad aggregate score. More people need to hear this. This work obviously demands much more immersion and credit than what is being granted thus far here. This is not a typical album at all, it's an experience.

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