Dan Deacon’s home studio is kind of a mix between a toy store and a science lab — for musicians. There are shelves of digital audio gadgets, multiple computers and monitors, synthesizers stacked on synthesizers and cables running between them all. “I like how chaotic it is. I like to think about chaos in the way that a forest is chaotic,” he says, describing the peace and uniformity of the trees from afar. But if “you get into it, there’s piles of leaves, and you lift up the leaves and there’s endless life crawling around in the muck.” Deacon’s first solo album in five years, Mystic Familiar , is out now, and chaos certainly plays a role in his music. His songs are densely arranged, with layers upon layers of synths and drums jockeying to be heard. Deacon’s concerts, famously, are no less frenetic. At a recent show, he directed the audience to actually dance their way out of the venue; he didn’t realize until it was too late that he was leading the crowd out onto a busy street where
The Y'allywood Reporter
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