How do we deal with artists who refuse to be fenced in with easily assigned labels? We have a natural inclination as listeners to call such artists difficult or inconsistent, that these artists cannot find their own unique sound and must therefore try to appropriate the work of other greater musicians. But what happens when an artist excels at each attempt to break the musical boundaries separating genres--and listeners for that matter--and creates highwater marks for each album released? In all likelihood, and in any given musical conversation, we are probably talking about Dan Bejar, lead purveyor of Destroyer. Bejar just wants us all to get along, musically speaking and that need for harmony, no matter what the genre, is at the heart of his records. He has spent the past decade fliting between genres and bands as easily as he changes musical instruments. And the sense of musical community that is hard earned on his albums feels natural and never forced, where other artists can try to force themselves into genres where they have no business being, Bejar has that innate ability to fit, to adapt. He's a musical chameleon. And a damn good one at that.
From the opening metallic snap snare on "Chinatown", Bejar lays the groundwork for his take on 80's gloss rock. And while many listeners may have less than fond memories of Peter Cetera and Chicago, Bejar's take on the excess filled 80's pop scene borrows liberally from them and many other mainstream MOR rockers(!?!) of that era, twisting it and making it distinctly his own. And far from the shallow emoting of those soft rock giants, Bejar takes his experience as genre-hopping whizkid and allows the excess of those artists to form the basis of his exploration and deconstruction of a cliche-riddled genre best known for its soundtracking cocaine parties and elitist privilege. And while "Blue Eyes" may seem to be a quintessential 80's ballad, the warmth and heart, while buried and slow to rise, remains intact even against the framework of that drug-fueled period in history. The popping saxophone and warbling synths which cover these tracks should feel stale and dated but in Bejar's capable hands they transcend their less than reputable soft rock origins and create an exciting and inviting atmosphere for all who care to listen. Whether we admit it or not, we all listened to Air Supply and Hall & Oates. Bejar just learned a hell of a lot more from them than anyone else.
Tracklisting:
01. Chinatown (listen to the mp3 below)
02. Blue Eyes
03. Savage Night at the Opera
04. Suicide Demo for Kara Walker
05. Poor in Love
06. Kaputt
07. Downtown
08. Song for America
09. Bay of Pigs (Detail)
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