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It's easy listening, while thankfully having nothing whatsoever to do with the much-maligned genre of the same name - and the sort of fascinatingly layered album that appears demanding and austere from the outset - described previously by Bejar as 'dour' - but is in fact home to a set of beautifully realised songs. It's just as well that it's so easy to be swept up in it 52 minutes pass by in a blur. On initial listens, the more crowded-sounding tracks like 'Forces From Above' and 'Midnight Meet The Rain' can seem difficult and overwhelming, but the record is concerned with its ebb and flow more than anything else.
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'Hell' is reminiscent of earlier Patrick Wolf material in its penchant for high drama and obvious classical bent, while 'Girl In A Sling' is delicate and dangerously fragile, somehow simultaneously ornate and intimate, the purest representation of Bejar's intentions on this, the tenth Destroyer album. It's one of the most accessible moments on a record that's melodically astute but rarely catchy in the traditional sense. It's an appropriately dramatic curtain-raiser that bleeds into the explosive 'Dream Lover', which is swept along by a joyous saxophone hook and relentless, pounding drums. He's got a fine set of lungs on him, but the supporting players really go for it. His latest opus is more concerned with synths than strings a richly orchestrated work that's bookended by flowery arrangements of album centrepiece 'Times Square', a song which, in its original form, thrives in a much more conventional soft-rock setting.īejar's distinctive, breathy voice fights to be heard over the bombastic backing of the orchestral renditions. Yet being aware is one thing conforming to them is another entirely. This constant desire for reinvention means he's never lacking purpose, and the state of flux in which Destroyer reside means that 'Poison Season' is possibly the only record Bejar's put out on which he's needed to be aware of others' expectations. This shouldn't be surprising: 'Kaputt' sounded nothing like 'Trouble In Dreams', which had nothing in common with 'Destroyer's Rubies', and so on. 'Poison Season' sounds nothing like 'Kaputt'. Circumstances have changed in the four years since Kaputt, however nominated for the Polaris Music Prize the year it was released, it definitely put him on the map, and is, for better or worse, why he has so many people keenly anticipating his next move. He's taken everything in his stride since he made his bow as part of Destroyer 19 years hence with 'We'll Build Them A Golden Bridge', finding the time to collaborate with ex-Wolf Parade (and current Moonface) man Spencer Krug as part of Swan Lake (who are currently inactive), and also maintain his role in the quasi-supergroup The New Pornographers (very much active, having released 'Brill Bruisers' last year).
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To him, the success he enjoyed with his last outing (2011's 'Kaputt') matters little, and he would like its follow-up to allow him to carry on as though nothing has changed. He'd appreciate it, but it's not necessary. Dan Bejar doesn't want you to like his new record.