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90 The first full-length Destroyer release since 2011's charting Kaputt -- with the Antonio Luque-penned Five Spanish Songs EP, and his bands the New Pornographers and Hello, Blue Roses' Brill Bruisers and WZO, respectively, dropping in the interim -- 2015's Poison Season marks prolific songsmith Dan Bejar's tenth LP with the project, and it's an intensely wistful, strings- and horns-washed epic exploration of New York city life. At nearly an hour in length, it feels immense, but more so from its unexpectedly cinematic stylings than from playing time -- with rotating, scene-setting arrangements (rock, jazz, chamber music) and beat-poetic narrative vignettes of a gritty reality seemingly from another time, or another mind. The string ensemble arrangements on the sparse opener, 'Times Square, Poison Season I,' proclaim yet another change in texture between albums for Bejar. 90 Destroyer is typically viewed as a glorified solo vehicle, with singer-songwriter Dan Bejar joined by a rotating cast of backing players. At one time this was true: the Vancouver musician started the band by himself in the mid-'90s, and his first few albums were centred on his guitar and voice.

And although the project has since grown in scope, the solo image continues to be perpetuated by the fact that Bejar appears alone in promotional photos, including the one that graces the cover of Destroyer's tenth full-length, Poison Season.Despite appearances, however, Poison Season is anything but a solo affair. 80 Many musicians have had to grapple with the challenge of how to follow up an album which has thrust them into the spotlight. Should you replicate that sound and build on its success? Add a children’s choir and try to write a Christmas Number One?

Or resist all of that, throw yourself out of your comfort zone and strike out in a new direction? If you know anything about Dan Bejar aka Destroyer you could guess that he would choose the latter route. His last album ‘Kaputt’ was nearly 15 years into his career but it was his most successful, the album’s quasi-ironic-sounding synth, drum machines and sax-filled songs delightfully weaving between his sharp-witted lyrics. 80 Canadian singer-songwriter Dan Bejar has been releasing albums under the name Destroyer since 1996. The most recent of these, 2011’s Kaputt, was a luxurious, addictive blend of Bejar’s trademark cryptic witticisms and the smooth sounds of AM radio circa 1980. Kaputt was outstanding album and a fashionable one, too.

Its reappropriation of AOR tropes chimed with a number of similarly feted albums released around the same time, from Metronomy’s The English Riviera to Bombay Bicycle Club’s A Different Kind Of Fix. Download zeosdbo 6.6 6 stable. 80 There’s some difficulty in encapsulating Dan Bejar’s continual growth as a songwriter, seeing as time hasn’t made him any less perplexing to understand. Often close to teetering over the edge of manic cool into casual, sophisticated pop opulence, he’s now officially made it into his fifth living decade accompanied by a sound that rightly suits him. It came as a surprise for many to witness him utilize the saxophone with such sincerity in 2012’s Kaputt, an album so rich and lushly artificial that it even brought back the term Muzak for the indie-minded crowd.