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“I feel myself as a hero,” says Bel Borba, “Because artists in the city used to be a hero, so, be a hero! The story of my life and the story of my career and the story of my city: I have an intense relationship with my town.” Sometimes called the “People’s Picasso,” Borba appears in André Costantini and Burt Sun’s Bel Borba Aqui as he puts into action his plan—initiated 35 years ago—to make art everywhere in and of his community in Salvador, Brazil. That is, he seems the very hero he describes—symbolic, self-assured, and immersed in his neighborhood. This effect is managed through a series of interviews with the artist, as well as more than one montage showing him at work.

It’s a testament to Deacon’s restraint (you heard me) that he can write intimate and complex music that still gets branded minimalist. Deacon relies on simple chord changes to motor his mechanics, but the notes themselves contain all the grime and rust, the spark plugs and fried currents that he can cram into them. The gritty texture of the synth bass on tracks like “Guilford Avenue Bridge” and “Crash Jam”  in particular are nasty and snarled, industrial filth that simultaneously mimes the devastated vista and the mechanisms that brought it down.—Timothy Gabriele, review of Dan Deacon’s America