[9:12PM] CHINATOWN
Once the womans voice kicks in the song really gets going. A horn solo keeps things funky. I haven't released listened to Destroyer before, but am really digging these soothing tunes. A clarinet solo is kicking in now, it's sexy [for lack of a better word]. The vocals are nice and soothing, no straining or wavering of the tone. [4/5]
Chinatown
[9:15PM] BLUE EYES
The singer sounds somewhat foreign, the vocals seem to have an accent that is recognized as English/American. The intro vocals are interesting then a long instrumental period is broken by the vocals of the guy. The drum is the key to this song so-far, it's keeping my toe tapping. Then it breaks down into a funky guitar solo and horn duet type deal. I'm not a big fan of Gayngs, but this is pretty much what I would sum up Gayngs sound as - that's not a bad thing. [3/5]
[9:19PM] SAVAGE NIGHT AT THE OPERA
This song has an awesome up-beat beginning. Wakes you up from the rather slumber that the first songs lulled you into. This is the best sounding song so far, the kind of scat-bum-bum thing they have going on is really catchy and easy-on-the-ears. The guitar solo that breaks out is pretty intense [as far as the album has presented itself so far] It is starting to drag on with the ba-da-bum-bum deal, oh wait, it's winding down now. Didn't drag on too long. [4/5]
[9:23PM] SUICIDE DEMO FOR KARA WALKER
A spacey little intro leads into a guitar solo [i believe it's a guitar, don't hold me to it. Maybe a harp?] Already ready for this song to end and I have 7 more minutes to go with it. I'll try not to fall asleep. SAX. The saxophone solo is intriguing. Sick, at 2:40 is breaks into a nice drum lead with varying synths behind the vocals. The song is pretty bleak lyric-wise, it may be a suicide letter. I am warming up to his seductive vocals. This could definitely be a bedroom song if it were lyric-less. Just googled Destroyer and I found out that he is from Canada, so now I can confirm he's form a foreign land. Well the vocals have stopped but the horns and keys are still going hard. This one could have been shorter, but it sounds pretty good. [3/5]
[9:34PM] POOR IN LOVE
A nice little solo by Bejar with guitar and horns that kind of hide in the backdrop. The tambourine really shakes things up [ha] and gets them going. DRUMS! A single deep drum picks up the pace of the song. It's really going now. I might venture to say that there is a little 80's indie-rock going on here. The song ends before it is really given a chance to flourish. [3/5]
[9:38PM] KAPUTT
Is this the Baywatch theme song? Oh, no, it's just the title track. It definitely sounds like some late 80's pop-rock infused with some Kenny G almost. The horns keep things pretty funky. I could definitely chill back on a couch in Starbucks and sip on a Caramel Machiatto to this one. It doesn't stray to far away from the flavor that Bejar and Co. have consistently held throughout the album. It really falls off with 30 seconds left and now I'm left listening to basically silence, not cool. [2/5]
[9:44PM] DOWNTOWN
35 seconds in Bejar and women vocals break up the sax solo. I am really digging the use of horns on the album, they really create a great vibe. The woman's vocals complement Bejar's pretty well here, they are just for background but they bring out the lack of emotion in his voice, which [in a weird way] sounds pretty cool. [3/5]
[9:48PM] SONG FOR AMERICA
Let's see what the Canadian has to say about us Americans... Well there is a pretty nice guitar solo, maybe he wants to say something about classic rock. I am beginning to feel like this album is closer to jazz than any other genre. There are definitely some funky-retro vibes going on with all the horns and keyboards that pop in and out of songs. I am sorry but i am not going to be able to interpret what he is trying to say after one listen. The call and response of horns as the songs wind down sound like Satchmo or a pissed off elephant, can't tell if I like them or not. [2/5]
[9:52PM] BAY OF PIGS
Here goes an 11-minute song. The first minute is very simple and airy. The synthesizers that kick in are a little out of place, I could put this as a Daft Punk song up until 1:45. He starts off with "Listen, I've been drinking." So is this just going to be 9 more minutes of song that result from a lonely night in a recording studio? I hope not because that sure doesn't sound like it fosters creativity. The songs is going to be lyric based I'm guessing, it's 3:30 in an I haven't heard any horns or guitar, just keys and synths. Uh oh, at 4:40 some guitars start-a-strummin'. Back comes Bejar and out go the guitars. WOAH, some techno synths, this is way out of place but seems to have started a beat. They too fade out as Bejar comes back to singing. This is becoming a good soundtrack to 2001: A Space Odyssey, the sci-fi synths keep re-appearing and sound way out of place. It's pretty impressive that Bejar has kept the lyrics going for 7:20. Now the la-la-la-laaaa comes. This sounds like some Miami Vice stuff now, strumming guitars, claps. My head is really bobbing now. Well we knew that this would have to stop at some point. The song is still going strong at 9:20. And starting to slow around 10:00, just kidding. An acoustic guitar, that sounds like some kind of Spanish-tuned strumming takes over and Bejar is really ebbing and flowing with the guitar. It ends pretty suddenly with Bejar's voice fading out. [1/5]
______________________________________________________________________________________
Alright, well that was fun, a little hectic but it was really cool to go through an album that fast. It kept me busy for the whole listen. I am definitely going to live-blog again. I didn't really know what to expect going into the album, I had never really listened to Destroyer before, but was digging from what I heard of the released single "Chinatown." I am not quite sure that I am particularly impressed with this album, it definitely has a sound unique to itself. Gayngs is its closest comparison and they aren't too similar. [DISCLAIMER: I AM NOT SAYING THAT DESTROYER SOUNDS LIKE GAYNGS] I'll have to say, I wish my first live-blog was of a better album, but this will be a process I'll have to figure out.
I'd recommend streaming the album on NPR [it's bound to happen] and download the single above but you're not going to miss anything by not buying the album.
Kaputt will be released on January 25, 2011 via Merge Records. Pre-order it here or here.
Once the womans voice kicks in the song really gets going. A horn solo keeps things funky. I haven't released listened to Destroyer before, but am really digging these soothing tunes. A clarinet solo is kicking in now, it's sexy [for lack of a better word]. The vocals are nice and soothing, no straining or wavering of the tone. [4/5]
Chinatown
[9:15PM] BLUE EYES
The singer sounds somewhat foreign, the vocals seem to have an accent that is recognized as English/American. The intro vocals are interesting then a long instrumental period is broken by the vocals of the guy. The drum is the key to this song so-far, it's keeping my toe tapping. Then it breaks down into a funky guitar solo and horn duet type deal. I'm not a big fan of Gayngs, but this is pretty much what I would sum up Gayngs sound as - that's not a bad thing. [3/5]
[9:19PM] SAVAGE NIGHT AT THE OPERA
This song has an awesome up-beat beginning. Wakes you up from the rather slumber that the first songs lulled you into. This is the best sounding song so far, the kind of scat-bum-bum thing they have going on is really catchy and easy-on-the-ears. The guitar solo that breaks out is pretty intense [as far as the album has presented itself so far] It is starting to drag on with the ba-da-bum-bum deal, oh wait, it's winding down now. Didn't drag on too long. [4/5]
[9:23PM] SUICIDE DEMO FOR KARA WALKER
A spacey little intro leads into a guitar solo [i believe it's a guitar, don't hold me to it. Maybe a harp?] Already ready for this song to end and I have 7 more minutes to go with it. I'll try not to fall asleep. SAX. The saxophone solo is intriguing. Sick, at 2:40 is breaks into a nice drum lead with varying synths behind the vocals. The song is pretty bleak lyric-wise, it may be a suicide letter. I am warming up to his seductive vocals. This could definitely be a bedroom song if it were lyric-less. Just googled Destroyer and I found out that he is from Canada, so now I can confirm he's form a foreign land. Well the vocals have stopped but the horns and keys are still going hard. This one could have been shorter, but it sounds pretty good. [3/5]
[9:34PM] POOR IN LOVE
A nice little solo by Bejar with guitar and horns that kind of hide in the backdrop. The tambourine really shakes things up [ha] and gets them going. DRUMS! A single deep drum picks up the pace of the song. It's really going now. I might venture to say that there is a little 80's indie-rock going on here. The song ends before it is really given a chance to flourish. [3/5]
[9:38PM] KAPUTT
Is this the Baywatch theme song? Oh, no, it's just the title track. It definitely sounds like some late 80's pop-rock infused with some Kenny G almost. The horns keep things pretty funky. I could definitely chill back on a couch in Starbucks and sip on a Caramel Machiatto to this one. It doesn't stray to far away from the flavor that Bejar and Co. have consistently held throughout the album. It really falls off with 30 seconds left and now I'm left listening to basically silence, not cool. [2/5]
[9:44PM] DOWNTOWN
35 seconds in Bejar and women vocals break up the sax solo. I am really digging the use of horns on the album, they really create a great vibe. The woman's vocals complement Bejar's pretty well here, they are just for background but they bring out the lack of emotion in his voice, which [in a weird way] sounds pretty cool. [3/5]
[9:48PM] SONG FOR AMERICA
Let's see what the Canadian has to say about us Americans... Well there is a pretty nice guitar solo, maybe he wants to say something about classic rock. I am beginning to feel like this album is closer to jazz than any other genre. There are definitely some funky-retro vibes going on with all the horns and keyboards that pop in and out of songs. I am sorry but i am not going to be able to interpret what he is trying to say after one listen. The call and response of horns as the songs wind down sound like Satchmo or a pissed off elephant, can't tell if I like them or not. [2/5]
[9:52PM] BAY OF PIGS
Here goes an 11-minute song. The first minute is very simple and airy. The synthesizers that kick in are a little out of place, I could put this as a Daft Punk song up until 1:45. He starts off with "Listen, I've been drinking." So is this just going to be 9 more minutes of song that result from a lonely night in a recording studio? I hope not because that sure doesn't sound like it fosters creativity. The songs is going to be lyric based I'm guessing, it's 3:30 in an I haven't heard any horns or guitar, just keys and synths. Uh oh, at 4:40 some guitars start-a-strummin'. Back comes Bejar and out go the guitars. WOAH, some techno synths, this is way out of place but seems to have started a beat. They too fade out as Bejar comes back to singing. This is becoming a good soundtrack to 2001: A Space Odyssey, the sci-fi synths keep re-appearing and sound way out of place. It's pretty impressive that Bejar has kept the lyrics going for 7:20. Now the la-la-la-laaaa comes. This sounds like some Miami Vice stuff now, strumming guitars, claps. My head is really bobbing now. Well we knew that this would have to stop at some point. The song is still going strong at 9:20. And starting to slow around 10:00, just kidding. An acoustic guitar, that sounds like some kind of Spanish-tuned strumming takes over and Bejar is really ebbing and flowing with the guitar. It ends pretty suddenly with Bejar's voice fading out. [1/5]
______________________________________________________________________________________
Alright, well that was fun, a little hectic but it was really cool to go through an album that fast. It kept me busy for the whole listen. I am definitely going to live-blog again. I didn't really know what to expect going into the album, I had never really listened to Destroyer before, but was digging from what I heard of the released single "Chinatown." I am not quite sure that I am particularly impressed with this album, it definitely has a sound unique to itself. Gayngs is its closest comparison and they aren't too similar. [DISCLAIMER: I AM NOT SAYING THAT DESTROYER SOUNDS LIKE GAYNGS] I'll have to say, I wish my first live-blog was of a better album, but this will be a process I'll have to figure out.
I'd recommend streaming the album on NPR [it's bound to happen] and download the single above but you're not going to miss anything by not buying the album.
Kaputt will be released on January 25, 2011 via Merge Records. Pre-order it here or here.
you're an idiot
ReplyDeleteSTEREOGUM COMMENTS ON BAY OF PIGS WHICH YOU NAME AS A DAFTPUNK SONG:
ReplyDelete“Epic” gets thrown a lot, but when hearing something like Destroyer’s “Bay Of Pigs,” I feel the need to go back in time and choose my words differently. The almost 14-minute “ambient disco” track takes up the entire Side A of Dan Bejar’s forthcoming limited-edition Bay Of Pigs EP. Ostensibly it tackles the 1961 invasion of Cuba of the same name, but like most of Bejar’s work, there are dozens of threads (and amazing lines delivered with tossed-off cool) running through it.
And again...YOU'RE AN IDIOT - GO AND REVIEW A LADY GAGA ALBUM THAT WILL MAKE YOUR TOES TAP TO THE BA-DA-BUM-BUM.....PUNK!