Dan Deacon is a classically trained spazz. The ringleader of Baltimore’s Wham City collective, Deacon makes synth-pop that’s both wildly idiosyncratic and steeped in compositional theory. His videos are akin to the absurd surrealism of “Tim and Eric Awesome Show, Great Job!” His concerts are something like hipster Jazzercise.
He also resembles Columbus rocker/concert promoter Kyle Sowash, but maybe that’s just the glasses.
Deacon’s “America,” out this week, is his most distinctly classical album in years, which figures, because recently he’s been premiering long-form works and scoring a Francis Ford Coppola movie and playing Carnegie Hall. “America” follows suit with movements and suites and such, often translated into Nintendo-era bleeps and bloops.
That should tip you off that “America” is no stuffy snooze-fest. The album surges relentlessly forward, as energetic and fun as anything Deacon’s done. Some sections drag on too long, but they’ll probably build tension masterfully on stage Thursday at The Bluestone.
Shawn Brackbill photo