Dan's Boogie
Even listeners familiar with Dan Bejar’s trip can find first encounters with a new album forbidding, a door slammed in your face when you’d shown up looking for a good time. A misty buffet of variety-show pop (“Dan’s Boogie”), Bowie-style glam (“Hydroplaning Off the Edge of the World”), and fake tropical jazz (“Cataract Time”), *Dan’s Boogie* is—like a lot of his albums since 2011’s *Kaputt*—both featherlight and impenetrably dense, filled with chintzy musical touches (the maudlin piano runs on “The Same Thing as Nothing at All”) and lyrical asides so flatly stated that the words strain against their meaning (“The Ignoramus of Love”: “I remix horses”). He’s funny, he’s surprising, he’s (ugh) “literate,” but most of all, you get the sense that he’s always nudging himself toward the unknown—a quality that commands respect when a lazier man would settle for a like.
Dan Bejar’s 14th Destroyer record is contemplative, morning-after music par excellence: He’s putting the whole story back together, knowing it’s all going to fall apart.
Complex yet surprisingly accessible, Dan’s Boogie sees Destroyer successfully refining his craft even further with superb results.
Throughout Destroyer’s ‘Dan’s Boogie,’ a range of genres is complemented by lush production and creeping dissonance.
Dan's Boogie by Destroyer album review by Leslie Ken Chu for Northern Transmissions. The LP drops on March 28th via Merge Records
Frightening fates await the protagonists of Dan Bejar’s 14th album, but the mercurial Canadian’s perspective and lavish instrumentation are a reminder of beauty’s potential