Dan Deacon delivered a revelation with 2009's Bromst. He transformed his absurdist, albeit inventive, sonic onslaught into symphonic works equally blissful and dark. His music started hitting an emotional core, not just an experimental one. With America he goes deeper -- perhaps it's because Bromst already reconfigured my brain to find beautiful melodies among the excesses of looping, digitized noises. On America, the orchestration is just as massive, yet the contrasts are even brighter and harsher, and surprisingly, more accessible. It's amazing how psychedelic the music can become, or retained, by a passing horn line, vocal passage or at just being minimalistic and letting things breathe for a section. Yeah, throw this puppy on with headphones and enjoy the inward adventures. It's masterful. Still, I'm sure it's hard for some people to take him seriously as a composer: he oftentimes looks like the poster boy for the irony movement, he's known for putting on live DJ shows that turn into ridiculous, all-inclusive sweat-drenched, free-for-all dance parties, and he's got a great sense of humor -- you've all seen "Drinking Out of Cups," right? But all of those talents shouldn't clog your ears to the music he's making. Take a listen to the four parts of the "U.S.A." suite that triumphantly concludes America. Deacon's the real deal.