The hardest part about this review was deciding which Destroyer album I would talk about. I could have picked any of the ten full-length albums that he has released over the past twenty years, because they are all simply amazing. That is not an exaggeration. They are very different from one another, but all amazing in their own unique way. But after careful though, I knew that Kaputt was the one I had to review, for it is one his most recent and best albums.Technically speaking, yes, Destroyer is a band, but it is very much the brain-child of singer-songwriter Dan Bejar, the only constant member of the band. So whenever I say he in this article, it is because I am treating Destroyer like a solo project. Hailing from Vancouver, Dan Bejar has been making music for decades with many different groups, including fellow Canadians, The New Pornographers. However, it is with his own band, Destroyer, that we see Bejar's true creative genius be released on every single album. All of his songs can be described as less of a song and more of a poetry reading with some musical accompaniment. Each track is a spellbinding journey into whatever universe that Bejar has decided to create on that album, and believe me, the universe is very different with each one. His songs contain all of the poetic qualities of Bob Dylan mixed with the eccentricity of David Bowie.
What makes Kaputt stand out in Destroyer's gigantic discography is its accessibility. His songs usually involve near rambling lyrics referencing literature, philosophy, and society, with very minimalist instrumentals in the back. The lyrics on this album are still uniquely Bejar, but the instrumentals do a much better job at creating an all-encompassing atmosphere, inviting the listener to nod their head and tap their feet. And Destroyer still manages to put his twist on these instrumentals as well.
The album kicks off with "Chinatown", which begins with cymbals that sound like gunshots and carefully strummed guitars. Some groovy beats kick in, accompanied by some harmonious synths. The lyrics seem to be a reference the final scene of the 1974 movie of the same title, starring Jack Nicholson, where the main character walks away from a bloody murder in the middle of the Los Angeles Chinatown on a rainy night. If anyone has seen this film, it is hard to argue that this song does not fit the mood that the scene creates. In the chorus, Bejar is accompanied by the excellent Sibel Thrasher on vocals, whose sweet and elegant voice matches quite well with Bejar's raspy and light singing.
The album continues with "Blue Eyes", which is a love song in the most cryptic way possible. It is very clear that the lyrics are focused on a woman, and that she is suffering some sort of emotional trauma. Beyond that, the meaning is left up to interpretation. This track manages to be both upbeat and extremely tender at the same time. I find myself dancing to this song every time I hear it, and nearly in tears every time Thrasher's voice comes exploding into the chorus.
One could have pulled the track "Savage Night at the Opera" out of any 80's playlist, with its very simple drum beat and heavy use of synths. This song continues Bejar's trend of taking a generally happy song, and filling it to the brim with soul and feeling. In the song, Bejar reflects on the feeling of invincibility that comes with youth and how it can seemingly end at a moment's notice. The ending of this song is perhaps the best of any on the entire album, with an energetic guitar solo that screams with the energy of driving down the coastline on a sunny day.
Another standout of this LP compared to Destroyer's earlier efforts is his implementation of smooth jazz. This becomes very apparent on songs like "Suicide Demo for Kara Walker" and "Kaputt", with the latter easily being the best song on the whole record. It has the feeling one gets walking through a dark high school party, and looking at the cute girl on the other side of the room. The smooth jazz element comes in a saxophone solo that blends in seamlessly with the other instruments, not overpowering the mood of the song, which too many songs with saxophones often do.
Another standout track, "Poor in Love" dishes out an addictive hook that becomes progressively more energetic as the song goes along, eventually moving from just one trumpet to a whole ensemble. The lyrics tackle the sad state of being both broke and out of love. It exudes such a listlessness towards the world. Bejar also makes a very cynical reference to the Jefferson Starship hit "We Built This City", replacing the words "rock and roll" that come at the end of the famous line with "ruins".
I mentioned earlier how each Destroyer album was a universe created in the mind of Dan Bejar. The universe in this case, is one full of a cynicism towards love and romance. Yet, for such a depressing worldview, it sounds almost complacent, accepting that that's just the way the world works. It is one Destroyer's most emotional albums, but not overwhelmingly so. It is a composed kind of sadness, one that chooses dignity over a bedroom flooded with tears.
This album is for anyone with not only a deep love for 80's nostalgia, but also a desire for authenticity and originality, both of which Bejar has in spades. It is not too far-fetched to say that he is one of the greatest songwriters in music today; and if you do not believe me, listen to this album, or any other by Destroyer, and tell me what you think after that.
One song to check out: "Kaputt"
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