Dan Deacon is going to Australia. He’s concerned his copy of Jim Fricke and Charlie Ahearn’s Yes Yes Y’all won’t arrive in time. He seems anxious about it for a split second, but then his worry lines vanish into a wide, bearded grin. “I don’t want to have to pretend to read [Cormac McCarthy’s] Blood Meridian again,” he says, jokingly.
The 33-year-old musician is easygoing and conversational, and highly prone to digression. “Someone once described my sound as Daffy Duck making electronic music,” he says. He pauses, then takes a detour. “I wish there was a really heavy and philosophical Daffy Duck. Like Daffy Duck’s … not dark side, but what are Daffy Duck’s anxieties and what are Daffy Duck’s regrets? Besides Bugs Bunny and Elmer Fudd, what are his aspirations?”
Put simply, Dan Deacon is an electronic music producer. Within the electronic community, his art is often given the less ambiguous label of absurdist composition. His productions tend to straddle the line between experimental and indie, and they’re all very weird. Critics have pegged the music as avant-garde. He thinks it’s less vague than that: “To anyone making true avant-garde or experimental music, I make pop music; to anyone making pop music, I make nonsense.”