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Boomkat Product Review:
Baltimore's Dan Deacon found himself on the receiving end of ream upon ream of positive press following on from his Spiderman Of The Rings album for Carpark. The laptop performer is also one of the very few electronic solo artists in recent memory to earn praise for his live shows, and over the past couple of years Deacon has maintained his profile by playing blog-worthy sets across the globe. Bromst is a clear step forward for Deacon, who takes a step beyond the confines of that exuberant variant of electropop found on his debut, instead embracing a more ambitious - you might even say, more serious - set of sounds. After the mighty Panda Bear-meets-Philip Glass of opener 'Build Voice', Deacon unleashes the full force of his eccentricity, dropping some Pinky & Perky vocals on 'Baltihorse', whilst really going to town with a flurry of marimba piled on top of all the electronics. As the album proceeds you might get the impression Deacon's picking different sounds out of the air and throwing them together simply because he can. 'Get Older' is like ELO vs. Max Tundra, 'Of The Mountains' is like Animal Collective vs. DAT Politics... yet the end result always seems very natural, and at times even rather innovative. The high energy videogame electronics and supercharged psychedelia of 'Snookered' are quite majestic despite the track's singular weirdness, and when Deacon leaves the 379bpm drum programming behind he still manages to sound full of energy and originality: 'Run For Your Life' is like a soundtrack to an imaginary Keystone Cops movie, all rendered in glorious granulated barroom piano, and 'Wet Wings' creates a sea of voices from a single source, layered and manipulated into a blissful ear-flooding choir. Bromst finds Deacon travelling well beyond the parameters of electropop and you can certainly imagine its impressive scope and eccentric, visionary qualities earning a place on one or two end-of-year lists.