This week, I reviewed Dan Deacon’s latest opus, Bromst, for PopMatters. While ambitious, playful and thoroughly enjoyable, Bromst ultimately feels more like a transition piece than a destination, a bridge between Spiderman of the Rings and whatever is just around the bend. That said, Bromst is still one hell of a ride—a manic, overstuffed, audacious follow-up that finds Deacon expanding the scope of his sound in just about every way imaginable. Click here to read my full review. (Photo from my coverage of Deacon’s show at the Hirshhorn Museum and Sculpture Garden last fall)

This week, I reviewed Dan Deacon’s latest opus, Bromst, for PopMatters. While ambitious, playful and thoroughly enjoyable, Bromst ultimately feels more like a transition piece than a destination, a bridge between Spiderman of the Rings and whatever is just around the bend. That said, Bromst is still one hell of a ride—a manic, overstuffed, audacious follow-up that finds Deacon expanding the scope of his sound in just about every way imaginable. Click here to read my full review. (Photo from my coverage of Deacon’s show at the Hirshhorn Museum and Sculpture Garden last fall)

Mar 27 2009

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