Dan Deacon creates cartoonish soundscapes. Over the years he’s tightened his sound, reducing the fuzz while retaining the spasticity (spellcheck’s saying that’s not a word, so now it is one). His newest, Gliss Riffer, doesn’t ever clash quite as hard as “debut” Spiderman of the Rings, but I think it indicates a maturation. Listen to this; it’s like Fuck Buttons and Animal Collective stopped taking their ritalin together. Layered pop vocals and driving beats somehow hide a clutch of animated chipmunks until they chirp through the breakdown at 2:20. The Dan Deacon of 2007 would’ve shoved them into the spotlight, but now they remain on the fringes til its their moment to shine.
Does that make sense? “The sounds at 2:20 are present in the whole song, and, despite being fairly distinct, the listener doesn’t notice them for what they are until the breakdown.” Eh