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Long stretches feature stark, static arrangements composed of little more than dissonant guitar noise, a synth drone, and minimalist percussion. 'Dream Lover' resorts to 70's glam-rock pomp a la Cockney Rebel, and ends with a dense instrumental din in the vein of early Roxy Music. 'Times Square, Poison Season' could be the dramatic monologue in a Broadway play. “A Light Travels Down the Catwalk” and “Sometimes in the World” present even more of a vocal challenge for Bejar. Lyrics like “Bombs in the city, plays in the sticks” are delivered with a prim, velvety elocution over quiet electronic percussion and stately piano, while a more sarcastic and vulgar line, “Come one, come all, dear young revolutionary capitalists/The groom’s in the gutter/And the bride just pissed herself,” is sung in a trembling scoff over a building crescendo. But his once-raggedy squawk has evolved into a suave croon with emotional range. The nebulous structure of “Sky’s Grey” recalls older Destroyer songs like “Looters’ Follies” and “Shooting Rockets” rather than the more intricate efforts on Kaputt and Poison Season in that it seems to primarily follow Bejar’s cadences and eccentric-as-ever turns of phrase. Throughout ken, Bejar’s voice does most of the heavy lifting in terms of melody and dynamics. And Bejar’s delivery is more energetic, lending those vocal hooks a greater urgency and sharpness.
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Asc Timetable 2008 Crack Keygen more.īut the heavy, thudding low end of the guitars and bass give the song a sense of weight and viscosity that Kaputt lacked.
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The distinction can be heard on “Tinseltown Swimming in Blood,” which could pass most readily for a Kaputt outtake thanks to its brass, shimmering guitars, and hypnotically repetitious series of vocal refrains. The album is murky and claustrophobic but still consistently melodic.
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Ken does share some cosmetic similarities with Kaputt, but where that album was airy and intricate, full of multi-instrument melodic lines constantly intertwining in a spacious sonic playground, this one is much less reliant on band dynamics.
It might be the first Destroyer album on which Bejar sounds anything less than begrudged about appealing to a contemporary pop audience. Destroyer’s ken, though, showcases the most commercially appealing elements of Bejar’s oeuvre-the 1980s nostalgia of Kaputt and the muscular power pop of his work with the New Pornographers-in an atypically concise, digestible package.
(2017) Destroyer - ken Review: Dan Bejar’s complicated relationship with, and frequent subversion of, pop conventions has always been a defining aspect of his music.
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