Tag Archives: Dan Deacon

Favorite Albums of 2009 (Chase)

Right now, I feel like a lazy bastard. 2009 is passing by, and the most remarkable event of the year for me was seeing Billy Ray Cyrus in a Starbucks. However, all my inaction allowed for me to soak up all the music and beer that arose this year.

It’s hard for me to imagine a busier year in music. With a slew of long awaited follow-ups (Flaming Lips, Eminem, Sonic Youth), new side projects (Bad Lieutenant, Beak, Them Crooked Vultures) and music news in general ( Blur reuniting!!!!!!!!!!!!!!!!, Oasis split, Michael Jackson’s death), 2009 really out did itself.

I’ve put my picks of the year, in no particular order, below.

BEST ALBUMS OF 2009

Dan Deacon “Bromst”

Coming strong of the ridiculous, and often too much to handle Spiderman of the Rings, Dan Deacon set off to blow minds. Well, that what Bromst did for me anyway. A musical venture to Toon Land that never seems to run out of energy.

Flaming Lips “Embryonic”

I don’t know about you, but I prefer my Flaming Lips to heavily doped out. For the past two records, it seemed the Lips had decided to leave the psycho-tropics out of the recording studio. We here at SiA are pleased to annouce that with Embryonic, drug-induced music made a come back, and the Lips revitalized themselves. Hurrah!

DOOM “Born Like This”

Since 2005, the Supervillain himself, MF DOOM, seemed to fall off the face of the earth. Earlier this year, he dropped the “MF” from his name and unleashed his best solo outing to date upon the world. Featuring some excellent J Dilla production and unprecedented DOOM flow, it was a most welcome return.

Animal Collective “Merriweather Post Pavilion”
Album after album, Animal Collective manage to hone their experimental music in to a finer degree. MWPP is an instant classic. It’s one of those career defining albums that will be a benchmark for the band’s potential. After this can only be mind shattering greatness, or disappointment.

Grizzly Bear “Veckatimest”

Before Veckatimest, Grizzly Bear proved that they were a great atmospheric band. But previous albums failed to make it past a 3 month rotation. This one, however, is different. GB forged together a great pop record, while maintaining that atmosphere the indie crowd tends to admire.

Raekwon “Only Built 4 Cuban Linx Pt. 2
Good hip-hop is hard to come by these days. I’ve had Ghostface Killah carrying the torch for the past few years, but his recent stumbles had me worried. Have no fear, Raekwon is here! The long awaited follow-up exceeds all expectations, and is one the best hip-hop records in the past 3 years.

Tom Waits “Glitter and Doom Live”
The Gravely One rarely tours, and his sold-out tour across America last year was not to be missed. Sadly, I did. Thankfully, snippets from the tour have been pieced together on this most excellent of live albums. His voice harsh as ever, his stage banter still supreme, and alternate versions of recent songs and classics make Glitter and Doom Live essential to fans of……well, music.
Dirty Projectors “Bitte Orca”
To say that the Dirty Projectors’ music is eccentric, is a bit of an understatement. Starts, stops, blips, beeps, and occasionally incomprehensible lyrics can scare some people off. Bitte Orca saw the group tighten things up a bit, and put out a stellar record worth hundreds of revisits. No wonder why David Byrne loves them so.

ARTIST OF THE YEAR

Animal Collective

No one really grabbed 2009 by the nuggets quite like Animal Collective did. They started off by releasing some of the best music of the year/their career in January with Merriweather Post Pavilion. Next, they supported that album with a great tour across the nation, with several major festival stops. They compiled an excellent box set of their work. And they finish the year strong with the 30+ minute Fall Be Kind EP, which shows that MWPP wasn’t their creative peak!

DISAPPOINTMENT OF THE YEAR

Eminem’s Return To Music
I can admit, I’m not that big of an Eminem fan. His first few albums were juvenile, fun, somewhat creative and always interesting. His issues with self-image and drug abuse led him to rehab and a few years out of the limelight. 2009 was supposed to be his big comeback, but all we got was Relapse. A record with half-assed writing, mediocre beats and an Em seems to have lost all relevance to the music world. Sure it sold well, but ultimately the record was a creative failure. Maybe if I were 14 again I would have crowned him king, instead I’m just sharpening the guillotine.

-Chase

Advertisements

Video: Dan Deacon & Ensemble live @ The Ft. Worth Modern Art Museum

One thing you can’t call Dan Deacon is boring. That much was made abundantly clear this weekend as he and his “big band” ensemble turned the Ft. Worth Modern’s sculpture garden into a bizarre makeshift playground studded with trippy green skulls, crystal cats and mass foot races. “If he had brought a giant parachute,” a friend of mine noted, “he would have perfectly replicated Kindergarten.”

As succesful as the live-band approach turned out, I’m pretty sure Dan will never be invited back to the Modern. At one point, he organized a crowd-swallowing bastardization of London Bridge which, he stressed, should stretch through the museum itself, past the bathrooms, through the exhibits nearest the sculpture garden, and back out through the other entrance. Needless to say, security put a stop to that. The game stretched out through the garden into what began to resemble Robert Smithson’s Spiral Jetty, but was rightfully not allowed in the doors of the Modern itself. 

The set was airtight and, despite an understandably long set-up process, was executed masterfully. The drummers from highly percussive, noisy post-rockers Teeth Mountain (who, it should be said, were absolutely terrific) helped bring Bromst‘s organic assault full circle into was was a staggering explosion of rhythm and guttural energy.  

It goes without saying that seeing Dan Deacon live is a sort of draining experience: beyond the organized sprinting, “sassy-as-fuck” dance contests and massively executed childrens’ games, just being in the presence of such staggering walls of sound is enough to make anyone feel a bit spent afterward. 

Unfortunately my camera died just as the first band (Denton’s own Fight Bite) took the stage. Luckily for us, it’s 2009: 

“Woof Woof”

“Baltihorse” and “The Crystal Cat”

“Snookered”

“Silence Like the Wind”

Jezy

Dan Deacon Brings “Big Band” Future Shock to the Ft. Worth Modern

I’ve been dipping my feet into Bromst, Dan Deacon’s latest auditory assault, for the past few days. While this record isn’t likely to convert those who felt accosted (in a bad way) by 2007’s collosal Spiderman of the Rings, Deacon’s new album furthers his quest in manipulating that ever-so-thin line between “unlistenable” and “goddamn-fucking-killer-genius.”

It’s even gotten the attention of NPR, who is currently providing a free stream of the album, which will see an official release date through Carpark on March 24th. (Standouts include “Build Voice,” “Woof Woof” and “Snookered”).

Now for something even more exciting: on April 18th, Deacon will be ringing in the return of the Modern Art Museum of Forth Worth’s “Modern ’til Midnight” with a performance in the outdoor sculpture garden. Also: he’s performing with 14-piece ensemble. Also: Teeth Mountain and Future Islands are opening, and the cover is $15. You’ll hate yourself if you miss this. 

[Full tour dates here.]

Jezy