America is not as joyous as Spiderman of the Rings or as eclectic as Bromst, but it is ultimately more affecting; and it seems to be most accurate reflection yet of who Dan Deacon really is.
It’s not only a statement that Deacon is to be respected as a serious artist, but also one of the more thoughtful and complex albums so far this year.
As enjoyable as the first half of America is, the sprawling suite on the flip-side is a truly inspired effort from Deacon -- probably his most adventurous and involving piece to date.
It's so rare that an artist can coherently and completely address themes so inherently personal and immensely relatable as those Deacon has tackled on America.
"USA" alone makes America one of 2012's striking moments and new high-water mark for Dan Deacon's ever-ascending career.
Everything here is bigger, and feels more important and wise, even than the spectrum of ego on Bromst.
On America he brings it all to the table, but the complexity of the music’s origins and construction never obfuscates its overall impact.
The tracks may be separated, but the seamless transitions and unified scope result in the most grandiose music that Deacon has ever produced.
America is a profound statement; splicing Fuck Buttons with Sigur Rós in a state-of-the-union address balanced between hope, despair and an accomplished collision of strings, brass, soaring choirs and beats.
USA - and by extension, Deacon - deserves plaudits for taking as many risks as it does and coming out the other side completely unscathed.
America is still undoubtedly an epic, but maybe not the world-addressing opus that Deacon might’ve wanted to make.
It's the second half of America that promises and more or less delivers something great and new for Deacon.
|# 19 -||AllMusic|
|# 44 -||Beats Per Minute|
|# 48 -||musicOMH|
|# 29 -||No Ripcord|
|# 10 -||Pretty Much Amazing|
|# 11 -||The 405|
|# 36 -||The Line of Best Fit|
|# 43 -||Time Out London|
|# 28 -||Under the Radar|