Gliss Riffer marks new territory for Deacon who, following up on the release of his large ensemble-based recordings - 2009’s Bromst and 2012’s America - decided to return to a simpler way of writing and recording, similar to that of 2007’s Spiderman of the Rings, which has resulted in this self-produced album.
Despite being predominately electronic, Gliss Riffer’s sonic palette is informed by his post-Spiderman of the Rings material. The Disklavier, a MIDI-fed player piano first heard on Bromst, is present here. Cross-rhythms suggestive of America’s orchestral songs and Deacon’s art music work (including a Carnegie Hall performance and film score for Francis Ford Coppola) are also in evidence. While Gliss Riffer may contain all the instrumental layering we’ve come to expect, this album also marks a newfound appreciation for Deacon’s own vocals, as evidenced on the lead track ‘Feel the Lightning.’ Yes, the female voice is Deacon too.