I first became acquainted with Baltimore artist Dan Deacon at a live show in a small club in Paris in 2007. Anyone who’s seen this dude live will tell you that his shows are not for the faint of heart or weak stamina–as he was getting down and dirty with crowd, spinning from the dance floor amidst the throngs of Euro electro-freaks and study-abroad kids, all that could be seen was the telltale flashing green skull that he (or someone?) lifted up and down like a torch proclaiming Deacon the hero of the glitch and pop.

It was frenetic, it was hyperactive and haphazard, and sounded all too similar to the electro sets that hit that club every week–let’s just say it wasn’t my cup of tea. So, naturally, I had my reservations when sitting down to take in Deacon’s latest album Bromst. Three years in the making, Deacon promises Bromst to be a show of his commitment to organizing the masses, creating a community and bringing people together to enjoy music and art…and, surprisingly, it doesn’t disappoint. Album opener “Build Voices” does just that, taking a full 50 seconds to build anticipation before anything is actually audible: the track has the strength of an epic opus complete with a full choir of men and women, the vocalists’ oohs, ahhs, and chorus builds into a solid crescendo that breaks for a sweet and simple piano solo. Right from the get-go, whatever “community” Deacon was aiming for seems to be established–the music is inclusive, it’s warm, and it invites you in rather than thrusting itself at you, unlike previous Deacon works.

The most obvious difference in Deacon’s new approach is his incorporation of live instruments, bringing in a player piano, marimba, glockenspiel, vibraphone, drums, winds, and brass. Never underestimate the power of the real deal–these touches combined with his traditional electronic aesthetic creates a sound that’s more mature, selective, and thoughtful. Songs like “Snookered” takes you on a ride across tempos and genres, starting with a world-music feel that progresses into an eclectic dance party and ends with melancholy tones of a xylophone. Deacon fans need not worry, though, the artist’s sense of humor that so defines his live performances and previous albums is still intact: just check out “Woof,” a track complete with the classic cartoon-style yelping that he’s known for. “Paddling Ghost” and “Of the Mountains” are other album standouts, possessing the kind of pop appeal that has a gusto and strength about it that gives this record weight and Deacon staying-power. I’ll bite my tongue and say I was proven wrong–maybe artistic growth and evolution isn’t BS after all.

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