
Dan Deacon, a Wham City (google it, I don't feel like explaining) native has put together one of the most enjoyable things I've ever listened to. Each track surprised me with how different it was from the previous one; cute choruses, overlapping synth waves, and silly (but meaningful) lyrics are a plenty in this album. It's definitely not an album for anybody who dislikes techno, synthy dance stuff, but this is NEW techno-synthy-dance stuff, it's the kind of album you'd say "well I hate so-and-so but Deacon is fucking fantastic."
And I was going to write a regular review based on the album as a whole (I basically started that way) but listening to it and trying to pick which songs to use as examples and which to leave out was impossible, and since there's only nine of them I'm going to write a little blurb about each. Enjoy.
'Woody Woodpecker' - Probably the strangest song you'll hear all year (and next), but also one of the most infectious on the album. As the title suggests, it is most definitely influenced by Woody the Woodpecker, as you'll find out by the nonstop looping of his iconic and slightly annoying catch phrase laughter. It's a pretty simple song, letting the "lyrics" pretty much take over, especially when two sets of the laughter are heard, one being absolutely deepened to a point that it's a little...scary. Weird as all hell, but absolutel fun.
'The Crystal Cat' - My original gateway song that introduced me to Deacon, 'The Crystal Cat' is a song that should be included on every Dance Mix CD from now until the end of time. No, it's definitely not for everybody, people I thought would like it hated it, and people I thought would hate it liked it. But it makes me happy. Everything from the ecstatic, scratchy synth, to the warbled, "what if cats could talk?" lyrics, works, and it delivers one of the danciest singles to date.
'Wham City' - 'Wham City' is to Dan Deacon what 'Time to Pretend' is to MGMT, a not nearly long enough sing-a-long that would fit oh-so perfectly at an end of the world bash. For being an eleven minute song it feels like it ends too soon, and you'll find yourself listening to it over and over because of this; never quite getting enough. The lyrics in 'Wham City' are some of the most nonsensical, and they don't make much sense, but they don't need too. The minute you hear it you'll want to sing along, even if you don't know all the words. The chorus is sung by a chorus, which adds more to the worldly "party to end them all" aestethic. The lyrics I posted days ago are apart of this song and fit very well here, even if it's not too easy to make them out on your own. Seriously take the time to check this song out, you will not be dissapointed.
'Big Milk' - Wow, what a change from the intense three songs that just went by. 'Big Milk' shows that Dan Deacon is capable of making music that not only fuels your need to move but music that relaxes and feels comfortable on a rainy day. It's cute, maybe the cutest song on the disk, and it knows it. The baby-ish lullabye chimes and the pretty xylophone go hand-in-hand for this track, you'll want to lay in bed listening to it and hopefully drift off to the strange planet where it was conceived.
'Okie Dokie' - "I got a rattlesnake gun, I got a rattlesnake gun, I got a rattle snake guuuunnnnn" starts this song, which to be perfectly honest, didn't excite me at first, but as it soon progressed into those kitty/kiddy vocals of 'The Crystal Cat' I knew I loved it already. The chorus rides on until the entire song slows down a bit to catch it's breath, and then back into it's original hook, only more ravaged.
'Trippy Green Skull' - I didn't know anything about this song before I heard it today, which is a shame because it's simply amazing. At it first it sounds like you've left The Omen on in the background, which eerie vocals spooking into your ears. Then more scratchiness as the sound of turntables speak for themselves. But the biggest surprise? that insatiable chorus from Ludacris' 'What's Your Fantasy?' squeaks out, barely sounding the original but some kind of adorable, twisted Dan Deacon cover that I'd prefer any day of the week. Just for that this song get's instant A+'s.
'Snake Mistakes' - A surprising bass/drums centered tune appears in 'Spiderman of the Rings', and it's filled with the silliest lyrics that you can't help but adore. When Deacon says "I hate them bees" you say "I hate them bees!" But the real sweet, smooth, core of the song is what I'll call the Dad Anthem. One of the highlights of the album in general.
"My dad is so cool
he is the coolest dad in dad school
he does not break any dad rules
he would pick you up if i asked him to"
'Pink Batman' - Imagine a Wes Anderson flick, in particular The Royal Tenenbaums, now remember the catchy, romantic, fast-paced, quaint songs he uses? This is like a missing song in the Tenenbaums soundtrack that needed a home. It's hard to describe really, it's like you stepped into France in the 1700's with a synthesizer and started a band with a guitarist, organ player, and harpsichord player (harpsichoridist?), then had to entertain a queen or king while the castle was being stormed by angry townsfolk.
'Jimmy Joe Roche' - Last not but not least, 'Jimmy Joe Roche' is a surprising ending to a kickass album. The repetitive, constantly overlapping noises only needed that signature Fuck Buttons buzz and it would be theirs, but Deacon shows once again that he can switch it up and do something interesting and new. It's vacant of lyrics, and I think if it did have lyrics it would just take away from the droning build up that ends with an abrupt blip, which seems all too cruel to end the album with, but you're still pretty pleased. This song is very heartfelt, you'll remember it long after the disk stops spinning.
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So, if you find yourself in need of something new to listen to, or just want to add a what should be platinum album to your collection, pick up 'Spiderman of the Rings' by Dan Deacon now! I promise you won't be dissapointed, and if you are? Well...you should have your ears revoked.
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