2011-12-30 14:46
麻油女郎
Destroyer - Kaputt (2011) [Indie Pop/Electro]
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Proudly Presents
Destroyer - Kaputt
Title [Kaputt ]
Artist [Destroyer ]
Label [Merge ] Genre [Indie ]
Quality/Size [44.1 @VBR 68,1 MB] Ripped [01-28-2011 ]
Grabbed from [CDDA ] Enc [Lame 3.97 ]
Website [Google It ]
Track Time Title
01 03:49 Chinatown
02 04:07 Blue Eyes
03 04:24 Savage Night At The Opera
04 08:26 Suicide Demo For Kara Walker
05 03:26 Poor In Love
06 06:18 Kaputt
07 03:51 Downtown
08 04:29 Song For America
09 11:18 Bay Of Pigs (Detail)
Totals
09 50:08 min
Release Notes:
Every era has a sound. When considering this, it can be easy
to forget that the sound developed as a way to express
something. Music heard as kitsch years later was once put
forth with complete sincerity. I mention this in connection
with Kaputt, the new record from Dan Bejar's Destroyer,
because the first thing that strikes you about the album is
its unusual sound, one for which we've all developed a
cluster of associations. The production and arrangements
evoke a narrow window of time-- sometime between, say, 1977
and 1984, or between Chuck Mangione's "Feels So Good" and
Sade's Diamond Life with stops along the way for Roxy
Music's Avalon and Steely Dan's Gaucho. It slides between
soft rock, smooth jazz, and new romantic pop. The bass is
fretless; the synths have the blocky contrast of a Nagel
painting; there are heavily reverbed trumpets and saxophones
that almost serve as a Greek chorus, trilling away at the
end of every line to enforce the beautiful plasticity of
these songs. For Destroyer, this sound is new, and it's
there for a reason.
The sound casts Bejar's songs in a very particular light,
and reinforces the feeling of the singer as persona. Bejar
has always come across this way to varying degrees, sure,
and his albums all have their own unique feel-- the rootsy
art-pop of Destroyer's Rubies, the MIDI experiments of Your
Blues, and so on. But here the persona seems even more
sharply defined. Singing these songs, Bejar comes over as
the wizened ex-playboy; he's indulged every vice, come
through the other side, and now looks on amused. The cover
of Leonard Cohen's Death of a Ladies' Man, a record that
seems to serve as a spiritual (though not sonic) father to
this one, shows this figure in its quintessential form. On
that sleeve, we see a man in sharp but slightly disheveled
dress, a cigarette dangling from a couple of fingers;
beautiful people are seated at the nightclub table, ready
for another night of glamor and pleasure.
Leonard Cohen in that image has a sense of swagger, and you
want to pull up a chair, have a drink, and hear him hold
forth on the topic of his choice. The figure inside the
songs of Kaputt understands the allure of this life while
understanding equally its futility. On early listens, a
couple of lines from the title track jump out and seem to
serve as a thesis for the record as a whole. "Wasting your
days chasing some girls, alright/ Chasing cocaine through
the backrooms of the world all night," Bejar sings, as horns
twist around in a bath of reverb. He sounds bemused, but not
necessarily judgmental, holding two feelings in mind at
once: our reflex to indulge ourselves, and the knowledge
that it's killing us.
But this happens on just one level, which is what makes
Kaputt so fantastic. It goes as deep as you want to go.
People can miss that Dan Bejar is funny as hell-- he seeds
his music with lyrical and musical in-jokes, and everyone
has their own favorite lines to pluck out of his songs and
admire for their concise wit. He likes surprises-- few lyric
sheets have as many exclamation points. But the essential
quality of all his records is complexity. They are doing a
lot of things at once. Kaputt feels rich.
For one, there is the surface beauty of the sound. Some less
inclined to the pleasures of the music from the
aforementioned era might have an initial reaction to its
essential corniness, but once you've tuned in, it sounds
beautiful. The songs seem delicate and glassy and
shimmering, and Bejar has toned down his quirky voice and
sounds relaxed and focused. So it's easy to enjoy bumping
the wet, jazzy pop of "Chinatown", which suggests the rainy
streets of an old city and new dramas unfolding around every
corner. Or wallow in the simple and elegant hook of "Blue
Eyes", the way Bejar voice works next to Vancouver singer
Sibel Thrasher, a regular vocal presence on Kaputt who sort
of serves as the Nicolette Larson to Bejar's Neil Young. But
"Blue Eyes" also has sly lyrical references ("your first
love's new order," "Mother Nature's Son") and funny put-
downs ("I sent a message in a bottle to the press/ It said,
'Don't be ashamed or disgusted with yourselves'"). More than
any other Destroyer record, you can just throw this on and
it sounds good, and plenty will do well stopping there. But
for those so inclined, there's more to explore.
So the lite-jazz style can seem a little funny, but it can
also be sad and sexy and joyous. And the writing is dense
with references-- to other songs on the album, songs by
other bands, to the music business, art outside the sphere
of music. "Suicide Demo for Kara Walker" is the most
striking example. It's a collaboration with the artist Kara
Walker, whose work, among other things, probes the racial
history of America. Bejar adapted the words she provided for
him on cue cards, and the result is fragmented and dream-
like, taking the Destroyer project to a new place. "Wise,
old, black and dead in the snow: My Southern sister..."
isn't the sort of thing we've heard from him before. An
early demo of the song reminded Bejar of the band Suicide,
hence the title. That's how things work in his world. Laughs
are mixed with grim insights.
Two tracks stick out a bit here. The astonishing "Bay of
Pigs", released as a single in 2009, concludes the CD
version of this album, and it's the one song that feels out
of place. It's longer, proggy, uses different textures, and
ultimately seems to be here because it's an amazing song and
as many people as possible need to hear it. Fair enough. And
the vinyl version of Kaputt also has a side-long, 20-minute
ambient track with just a bit of voice called "The Laziest
River", which is enjoyable and immersive but not essential.
Both indulgences are easily forgivable.
Bands can be brands or concepts that can be summed up in a
line or two-- which is the power of brands. It's a good
thing in proper doses. But Bejar's essential complexity
ultimately feels human. It seems absurd to look for genuine
wisdom in music in 2011, when we're constantly gorging
ourselves on the all-you-can-eat buffet of post-modern web
culture. But Kaputt feels wise. Like a mirror that actually
points back at something better. Something you can jam and
let wash over you, but also something you can use. It feels
funny, tragic, artful, and ultimately true.
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[b]Daniel Bejar[/b] (play /ˈbeɪhɑr/) is an independent pop singer-songwriter from Vancouver who formed Destroyer in 1995. He self-produced his first album, the lo-fi We'll Build Them a Golden Bridge, which was recorded at his in home studio in Vancouver. As Bejar gained popularity within the Vancouver music scene, he was joined by John Collins on City of Daughters and Destroyer formally became a band. In 2000, the band broke up and Bejar took an extended vacation in Spain.
Following his brief break from Destroyer, he returned to Vancouver to release Thief in 2000. Interpreted by many critics as an indictment of the music industry, this album brought Destroyer significant recognition.
Following Thief's release, Bejar put more focus into his pop music, beginning his music contributions to The New Pornographers. After the 2001 release of Streethawk: A Seduction on Misra Records, Destroyer picked up something of a cult following. Having the band Frog Eyes play back-up for several shows inspired Notorious Lightning & Other Works, a reworking of six tracks from the previous album Your Blues with Frog Eyes once again as back-up.
Destroyer continued its sonic development with 2006's Destroyer's Rubies, 2008's Trouble in Dreams, the 2009 EP Bay of Pigs, and 2011's full-length Kaputt. On June 16, 2011, Kaputt was named as a longlisted nominee (one of 40) for the 2011 Polaris Music Prize. On July 6, the album was named as a shortlisted (one of 10) nominee for the 2011 award; the winner was subsequently announced as Arcade Fire for "Suburbs".
[[i] 本帖最后由 麻油女郎 于 2011-12-30 14:48 编辑 [/i]]