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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About Dan Deacon

Equally influenced by diverse artists like Devo, Talking Heads, Scratch Orchestra, Raymond Scott, and Conlon Nancarrow, electronic music composer Dan Deacon studied electro-acoustic and computer music composition at Purchase College in New York. While he was a student, he issued his first recordings in small runs on CD-R, including Green Cobra Is Awesome vs. the Sun, Silly Hat vs. Egale Hat (yes, "Egale"), and Meetle Mice, all released in 2003. He later moved to Baltimore, Maryland, and became an instant figurehead of the city's fledgling electronic music community, joining the Wham City collective and evangelizing his and his fellow whimsical peers' "future shock" output. Linking up with the Carpark label, he released Spiderman of the Rings (2007) and Bromst (2009), two albums filled with hyperactive and often challenging electronic detritus. In 2012, Deacon signed on with indie label Domino Records, who released his most mature and wistful album, America, later that year. After the more organic approach of America, Deacon returned to the uptempo electronic sounds of his best-known work -- albeit with a greater reliance on vocals -- with his 2015 release Gliss Riffer. ~ Rob Theakston & Andy Kellman

  • ORIGIN
    Baltimore, MD
  • GENRE
    Electronic
  • BORN
    August 28, 1981

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