I didn’t expect Dan Deacon to make that sort of a leap after his 2007 breakthrough release Spiderman of the Rings. It isn’t that I loved that album so much that I would find it hard to imagine any improvements, but the niche factor it accumulated once there was enough hype built around it made it seem a bit antithetical for Deacon to do anything but continue strictly in that vein. I was expecting a follow up full of “
As different as it is atmospherically, it’s still clearly a Dan Deacon album. The hallmarks of his particular brand of indie electronic are still here in full force, but the way that he applies them here is much more impressive. Spiderman of the Rings was a Technicolor post-electro playground where the rides were all free as long as you knew the words to “
On top of that, there are no signs of growing pains on Bromst, even as the songs get longer (almost half cross the 6-minute mark) and incorporate more varied instrumentation. If anything it’s an even more assured record than its predecessor in how readily it embraces the broader scope and the changing moods. It actually sounds like Deacon coming into his own as an artist as opposed to the high-quality borderline novelty vibe that Spiderman of the Rings gave off. That’s not to say that it’s so vastly different from its predecessor that they barely sound like they came from the same mind, but as I said earlier it’s like the best parts of Spiderman drawn out in their full glory without the more worrying parts to distract from them. Bromst actually gives me the sense that Deacon is more than a flash-in-the-pan who happened to come out with the right album at the right time, and givesme hope that he could be a leading light in this genre for a few years to come.