Deacon Employs ‘New Age’ Techniques on Newest Album
By Broadside Staff Writer Marian McLaughlin.
Dan Deacon’s new album Bromst follows in a similar direction as works by Philip Glass, in a sense that both artists use the piano as their primary instrument, frequently structuring their compositions with rapid, yet minimal, arpeggios. But Bromst is like a hybrid love child of a Philip Glass composition with new age electronic techniques. The result is rather explosive and uplifting.
Although all the songs on his new album have their own personalities, the eleven electronic compositions morph together to create one extensive, meditative piece.
The first song, “Build Voice” starts off like an alarm clock, slowly coming to a crescendo of an orchestra of ringing and vibrating sounds. Then a voice rises and builds up over the electronic tension, bringing attention to the listener that a human is at the center of all of the sound. With that simple reminder, anyone who is listening cannot help but be soothed and sink back, knowing that in this chaotic soundscape of Bromst, there is still an emotional connection, a strange yet friendly voice to guide you through the minefields of polyrhythms, dissonance and noise.
Deacon uses this theme not only on his album, but also in his live performances. Without even trying, he immediately connects to his audience. Deacon naturally radiates positive, compassionate energy and passes it along through the crowd through loving interaction and raw, rushing music. At his shows, he tends to take breaks from making music to get the crowd to interact with each other. Sometimes he will ask everyone to pause, close their eyes, and think about all the bad paintings that happened to them that week. After that, he will ask them to release those thoughts, to lie down on the floor and wiggle around. Of course, Deacon is down there on the floor with everyone, whether he is performing or not.
Before beginning a song, Deacon will also get the whole crowd singing one of his bizarre mantras. Everyone will be worked up and on the same level, letting their guard down as they loosen up. Then, Deacon will begin one of his rhythmic, energetic compositions that no one can resist dancing to. He has also been known to turn off the lights during his shows for periods of time, letting the music and the movement of the crowd take over the participants, as a form of meditation would do.
Deacon has successfully established a connection between community and composition with his studio works and his live antics. On Saturday April 4, he will be performing live in Baltimore, Md. for the Sixth Annual Transmodern Festival. The festival starts on Thursday and ends on Sunday night. It highlights various artists in every medium, from exhibitions and installations to concerts and recitals. Catching up with the Baltimore native at this event would be a great way to see him interacting with his home base where he is a part of Wham City, one of Baltimore’s arts collective. The concert serves as a CD release party for Bromst and the event, made to bring the art community together, will definitely praise Deacon.
Information for the show can be found online.
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