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Critic Reviews
100
These are thick songs built around left-field ideas, positively fat with melodic contentโphysically shake the record, and sheets of notes would probably spray out like a colorful rain of tonal Skittles.
12y
91
At turns gorgeous, manic, ambitious, infuriating, majestic and totally joyous, Bromst is an almost impossibly sumptuous feast for the ears that makes most of this decade’s musical efforts seem lustreless in comparison.
5y
90
Minor grumbles aside, Bromst is a thrilling, hyperactive album that runs from calm and composed to frantic and frazzled, usually within the space of an intro.
15y
90
Bromst annihilates all the expectations that have come to be expected of Deacon, without abandoning what made him everyone’s favorite dance-party czar.
7y
90
On Bromst, Deacon's confidence shines through as he effortlessly combines extremes.
10y
90
Deacon nips the synthetics that allowed Spiderman's sandpaper production to grate, opting instead for smoothly textured layers, a trick that strengthens a brilliantly executed dance album into dramatically structured art.
12y
85
After breakthough Spiderman of the Rings, Dan Deacon returns with another great record whose palette is richer, the samples smoother, the space larger.
15y
80
To conclude that Bromst is a triumph of inventiveness is too easy. It is wildly inventive, but what impresses most is that for all the levity, Dan Deacon has managed to impressively reign in his flights of fancy.
15y
80
This muscular follow-up ratchets up the internal tension until his exuberant toy-town techno becomes a shot of pure musical adrenalin.
8y
80
Loud and intense, slow building and catchy. He has truly mastered the sound, he’s got the skills; the ladies will soon follow.
10y
80
Though these are still largely electronic compositions, this album delivers an extremely interesting study in our relationship to the analog and digital worlds. Itโs Deaconโs most ambitious collection of recordings to date.
12y
80
Some may miss the goofy dance-pop gems, but Deacon shows off his sound-wrangling abilities on Bromst. So, now we know he can write sharp little tunes and sprawling epics. What will come next?
12y
80
Bromst is an excellent followup to a slightly more-excellent debut, and proof that Deacon isn't going anywhere.
15y
80
Even at his most contemplative and nuanced, Deacon remains a DIY trickster at heart.
11y
80
Maturity can be dangerous to your artistic health, but Bromst shows the right way to mature -- broaden your vision while still spending plenty of time on what you do best.
15y
80
It’s the hyper-distinguishable leap from idiosyncratic-but-lovable to just-plain-lovable that makes Bromst -- and Danny Boy himself -- of increased import.
15y
70
Bromst isn’t a complete about-face or Deacon’s Kid A moment; instead it reveals an artist in transition, admirably trying on new ideas to mixed results.
10y
70
Sure, Bromst is a terrific album — it largely builds on Spiderman of the Rings, injecting Deacon’s manic compositions with a depth and complexity that challenge lazy readings of his work. However, it still feels more like a transition piece than a destination.
15y
70
This openness paired with the perfect sequencing of the album undoubtedly makes Bromst both Deacon’s best work yet and the perfect entry point for newcomers.
8y
60
His 2007's "Spiderman Of The Rings" was filled with good ideas but prone to novelty. Bromst goes a long way to reversing this trend.
Print Only
2y
60
His sequel to the quirky, lo-fi assault of 2007's "Spiderman Of The Rings" has a similarly maniac edge, at once mesmerising and unnerving.
Print Only
2y
49
Here we see the often-resourceful Deacon approaching a big canvas with too little paint, and the result is a record which feels bloated, overlong, and ultimately empty.
11y
A good friend of mine recommended that I check Dan's earlier stuff out, because we were both fans of his 2020 LP, Mystic Familiar. A lot of what I had to say about his debut, Spiderman of the Rings, still stands true for this album, because though he expanded and perfected on the sounds he invented on that album, he still mostly uses pretty much the same tricks, but with even more pizzazz this time around.
The best way I can describe the sound of these songs is that they are incredibly nerdy, ... read more
This is an album swap with @EPTIT gracias por la gran recomendación<3 Trate de escribir la review en español pero me di cuenta que no soy tan bueno escribiendo en español xD ok REVIEW TIME!
This album is such a wild ride! Let me tell you what thoughts gather in my mind and what feelings envelope my heart when listening to this album!
I feel like I’m venturing upon journey towards unexplored lands! I’m guided into a huge festival held within Mother ... read more
๐จ THIS ALBUM WAS SUGGESTED BY @PotatoSapien, GIVE THEM A FOLLOW IF YOU HAVEN’T ๐จ
Alright this is an album that’ll probably grow on me with a revisit. I thought this was pretty good tho. Bromst by Dan Deacon is a good Indietronica and Neo-Psychedelia album with some blends of Progressive Pop and Post-Minimalism. Production on here is very grand though and all of the shit that was put into this was pretty impressive. I feel like sometimes the album is doing TOO much which was ... read more
๐๐๐๐๐๐๐๐๐๐: This album's rating may not be entirely accurate, since it has not gone through the ranking process to determine what it's final score is on ๐๐๐ ๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐๐๐ ๐๐๐๐ ๐๐๐๐๐๐๐
๐๐๐๐๐๐๐ ๐๐๐๐๐๐: UNRANKED/UNSURE
For more information on ๐๐๐๐๐: https://www.albumoftheyear.org/user/potatosapien/list/265310/-/
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Track List
| 1 | Build Voice 5:28 | 78 |
| 2 | Red F 4:38 | 77 |
| 3 | Paddling Ghost 4:05 | 83 |
| 4 | Snookered 8:04 | 85 |
| 5 | Of the Mountains 7:16 | 81 |
| 6 | Surprise Stefani 7:46 | 79 |
| 7 | Wet Wings 2:53 | 66 |
| 8 | Woof Woof 4:44 | 68 |
| 9 | Slow with Horns / Run for Your Life 6:35 | 84 |
| 10 | Baltihorse 6:21 | 71 |
| 11 | Get Older 6:30 | 79 |
Total Length: 1 hour, 4 minutes
Year End Lists
| #12 | / | Pretty Much Amazing |
| #15 | / | Tiny Mix Tapes |
| #26 | / | No Ripcord |
| #29 | / | PopMatters |
| #30 | / | Stereogum |
| #46 | / | Pitchfork |
| #56 | / | Consequence of Sound |
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