(Copyright © 2006 Piero Scaruffi | Terms of use )

We'll Build Them a Golden Bridge (1996), 4.5/10
City of Daughters (1998), 5.5/10
Thief (2000), 6/10
Streethawk (2001), 5/10
This Night (2002), 6/10
Your Blues (2004), 6/10
Destroyer's Rubies (2006), 6.5/10
Trouble In Dreams (2008), 6/10
Hello Blue Roses: The Portrait Is Finished (2008), 5/10
Kaputt (2010), 5/10
Poison Season (2015), 4/10
Ken (2017), 4/10
Have we Met (2020), 4/10
Labyrinthitis (2022), 4/10

Dan Bejar's Destroyer, based in Vancouver (Canada), originally a folk-rock project when it released We'll Build Them a Golden Bridge (1996), went on to package quirky parades of impeccable pop songs filled with the pathos of glam-rock and roamed by nonsensical lyrics: City of Daughters (1998), Thief (Catsup Plate, 2000), Streethawk (Misra, 2001), the existential nightmare This Night (Merge, 2002). These albums took the best that post-psychedelic folksingers such as Robyn Hitchcock had to offer and wed it to post-industrial arrangements that made totally disorienting. Bejar's artistic progression reached an almost delirious, baroque zenith on the lush, electronic Your Blues (2004), with Notorious Lightning, The Music Lovers, New Ways Of Living and It's Gonna Take an Airplane, and finally emerged into the maintream with Destroyer's Rubies (2006), his most obsessive pop statement, performed by a real band and highlighted by the nine-minute Destroyer's Rubies, Painter In Your Pocket and 3000 Flowers.

Swan Lake is a super-trio formed by Bejar with Spencer Krug of Wolf Parade and Carey Mercer of Frog Eyes that debuted with Beast Moans (2006).

Trouble In Dreams (Merge, 2008) contains the eight-minute Shooting Rockets, mildly anthemic Dark Leaves from a Thread and the single Foam Hands.

Hello Blue Roses is a duo with Sydney Vermont that debuted with the tenuous The Portrait Is Finished and I Have Failed to Capture Your Beauty (Locust, 2008).

Kaputt (Merge, 2010) is a tribute to ambient music and synth-pop of the 1980s, replete with vintage instrumentation, such as Savage Night At The Opera (reminiscent of OMD's Enola Gay). The eight-minute Suicide Demo for Kara Walker is the intellectual heavy weight here.

Poison Season (2015) is a mediocre collection of whispered pop ballads. One can save the sax-driven Lou Reed-ian Times Square and the pounding David Bowie-esque Dream Lover. The rest is languid and somnolent to the point of irrelevance. Bangkok boasts a swinging jazz coda.

Ken (2017) converted to synth-pop with bouncy ditties like Sky's Grey and Tinseltown Dripping In Blood, but the catchiest number is Cover From the Sun, which harkens back to naive power-pop of the 1960s. In The Morning is another virtual tribute to David Bowie.

Have we Met (2020) has less synth-pop (Crimson Tide), more ambient pop (The Television Music Supervisor) and a funky Cue Synthesizer.

Dan Bejar went "disco" on Destroyer's Labyrinthitis (2022), where a 1980s-style synth sound propels the robotic Suffer and June.

(Copyright © 2006 Piero Scaruffi | Terms of use )
What is unique about this music database