#Torrent destroyer poison season full

Poison Season is yet another dramatic shift for an artist who canвЂ™t be simply defined by a genre or by what makes him popular and acclaimed throughout the 20 years heвЂ™s been making music as Destroyer. For example, he sings on вЂњThe River,вЂќ вЂњ Lily-covered livers/ The rich man shivers/ For reasons unknown in the wind.вЂќ This may sound like pretentious hogwash, but when you hear Bejar sing it, he sells it to you like no one else can, his smooth croak humming like an engine pulling you towards a final destination.ДЄnd what a destination! The bookends вЂњTimes Square: Poison SeasonвЂќ are some of the most gorgeous music BejarвЂ™s ever released, and IвЂ™d even argue that the first of the two tracks is perhaps the best evocation of New York sadness since Liza Minelli sang вЂњNew York, New YorkвЂќ for the first time in ScorseseвЂ™s eponymous film.

ItвЂ™s like hearing the words вЂњcellar doorвЂќ in such a way that the words have an aesthetic pleasure divorced from their meaning. He just understands the flowing beauty of words in ways that are lost on many of us. BejarвЂ™s allusion-crammed musings always make for fascinating listening and pondering (he has one particularly funny pun based on John Carpenter movies), but thereвЂ™s something else to his lyrics that make them compelling and heart-wrenching. However, theyвЂ™re good enough to keep the record afloat and not distract from his greatest skill set.ДЄs always, the lyrics steal the show. TheyвЂ™re striking, fun songs, and heвЂ™s obviously having a great time, but theyвЂ™re not his best work. Much has been made of Springsteenian tracks like вЂњDream LoverвЂќ and вЂњThe River,вЂќ and while theyвЂ™re both fascinating tracks they stand in a stark contrast to the rest of the album, with lush orchestration and sharp horns and quiet piano tunes riding alongside BejarвЂ™s voice. Unlike critics, press releases always will make that comparison, and Merge believes heвЂ™s set his sights on the вЂ70s with this record. I wonвЂ™t lie: at times, I missed the focused pop of Kaputt and its own particular style, but these records are so different that it feels like a disservice to compare them. That song and its variations make up most of the recordвЂ™s backbone, and its repetitious renditions show how accomplished Bejar has become as since the beginnings of his career. As opposed to that recordвЂ™s journey through the sonic cityscape, Poison Season feels like a lengthy drive down the Turnpike, gazing at urban decay with sadness, ears perking up when echoes of Springsteen make their way across the FM frequencies and winding up in Times Square, back where you started, somewhat changed. The nearest equivalent in recent releases would probably be Julia HolterвЂ™s Loud City Song, with its blend of jazz and rock cacophonies and swelling orchestral arrangements.

The recordвЂ™s neither exceptionally poppy nor exactly inviting to mainstream ears. It was a record that seemed well outside of his comfort zone and absolutely improbable coming from the man who wrote the guitar, story-based DestroyerвЂ™s Rubies and Trouble in Dreams, but then again, who would have thought that a band like Talk Talk would have gone from вЂњItвЂ™s My LifeвЂќ to making heroin-addled post-rock records perfect for bong rips in your first apartment? Legions of new fans, drawn to his music through brilliant hooks and smooth saxophone solos, may be disappointed to discover that Bejar has little interest in staying in this new comfort zone on his latest, Poison Season.

#Torrent destroyer poison season full

Last time around, he drove his DeLorean straight into the collective memory of the вЂ80s and wrote one of the best records of the decade, Kaputt, full of lush synths and painful nostalgia at the loss of childhood via the closing of Melody Maker. Recently heвЂ™s been traveling through time. Dan Bejar has an ear for melancholy, and every record heвЂ™s ever made as Destroyer refracts sadness in new shades.