The very first sound that I was introduced to of Dan Bejar's Destroyer was the song 'The Very Modern Dance' that I had thankfully received from a sampler album download. Whenever this tune would pop-up on my iPod I would have to check and see each time who sang this catchy song. It was a foot-tapping, head-bobbing addiction reminiscent of playful Bowie-esque composition but with contemporary Reggie Youngblood (Black Kids) vocals that propelled each time through my speakers. Bejar's latest creation, Kaputt from his band Destroyer provides a self-explanatory review from his album title alone and is also nothing like the very first single that attracted me to Destroyer in the first place.

The overall feel of the album would be classified under adult contemporary with a modern lean towards pop from the likes of The Smiths, Joy Division and some recent contenders like Twin Shadow and The Drums. From the first track, 'Chinatown', there is an 80s vibe provided by a constant beat even throughout the rest of the album and a Morissey style of expression took me back to a calm and ethereal state. A few great surprises were the backing female vocals that fit perfectly like a Torquil Cambell and Amy Millan (Stars) match made in heaven and the distant sound of a saxophone. This first track provided a predicted easy flow for the rest album.

'Savage Night at the Opera', the third song off the album is the main highlight of Dan Bejar's vocals. He exudes a subtle sexiness that is emotional, raw but unapologetic. This track also features a great guitar solo that steals the song more than halfway through. I'm always one to fall in love with an instrumental track and 'Suicide Demo for Kara Walker' the mid-point of the album, almost accomplishes just that. A song that lasts for eight minutes, during the first two you become enveloped, lost and forget you're even listening to a complete piece of work; a reaction we all get when listening to strictly an instrumental track alone. Oh, but wait, it isn't one, after those first couple of minutes, Bejar comes right in and provides a light dance-able surprise that starts to make my head bob again. The uses of the clarinet and the sax are beautiful contrasts to this interlude. Song number six, 'Kaputt', the title track is another long song at six minutes but is surely enjoyable. It picks the pace up for the whole album and there's just no other way to describe the song but groovy. The close of the album at eleven minutes is 'Bay of Pigs.' This was Bejar's last attempt to emotionally capture his audience but unfortunately I became a bit lost. Random electronic beats seem to appear and it seemed more like three separate songs than a complete and final piece of work.

Kaputt is not an album for everyone. I personally like this album because it's a easy listen for a lazy day or a long road trip. But the constant sax and jazz references wouldn't appeal to everyone and also the overall laid-back tone. Definite highlights are the experimentation that reminded me of course of Bejar's New Pornographer's days and other Canadian comparisons like Broken Social Scene and Arcade Fire, also recent Sufjan Stevens. I'm a huge fan of long songs, straining and personal vocals much like Thom Yorke's and easy-listening, but this album and this Destroyer was a completely different side as compared to the song that made me give a listen to Bejar in the first place, but it is overall a consistent album.

Photobucket