Dan Deacon’s music-school experiences obviously taught him the ropes of playful, complex, musical deflation.
On first listen, after hearing the cartoon/classic videogame music and intensely weird/cute vocal effects, one may wonder what the hell the man’s been smoking. Then, when it all begins to sink in, listeners will realize that Deacon is a mental brother to Zappa more than anyone else.
I offer you no answers. Enjoy the absurdity. The opening track loops mutations of Woody Woodpecker’s laugh over increasingly rapid beats until you feel like you can take no more, but you’ll regret it if you don’t stick around. The next track, “Crystal Cat,” is just about the rockingest shit that keys, drum machines, and fucked up baby-wail vocals can produce, but Deacon is just warming up.
Named after the collective of artists that Deacon is a (small) part of, the album’s centerpiece and climax is “Wham City.” The song is layer atop layer of drums, synth textures, and processed nonsense that builds to a peak, disappears, and then begins again differently. Wondrous and strange.
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