eMusic Review 0
Spiderman of the Rings opens with a four-minute treatise on why Dan Deacon should be committed. It follows with a four-minute treatise on why he should be sainted. Dan Deacon is one man from Baltimore and Dan Deacon sounds like an army; his thicket of wires and Casios is his flotilla, even if it looks like your local wild hobo's mobile time machine.
But where Deacon's forbears — dead, ostensibly retarded Wesley Willis and nerd-king Atom and His Package — were as instant, cheap and reliable as a crotch shot, the noisy synth-pop on Spiderman of the Rings earns it silliness; it makes a statement out of it like Little Richard and Devo did. Dan Deacon is as serious as golf, it's just that he's most expressive when he's recycling a Ludacris verse and grinding it through a pitch-shifter. It's obscenely hyperactive music, but like any gag worth a damn, it never feels like a gag without complexity or color. His most visceral tracks (“The Crystal Cat,” “Snake Mistakes”) are as delirious as Spike Jones, as textured as the tonal quilts of Yellow Magic Orchestra and Terry Riley.
Nowhere are his powers higher than the 12 minutes… read more »