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Destroyer - Have We Met

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Have We Met

Destroyer

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The most astonishing thing about this thirteenth album from Destroyer is its transformation. Strangely, from the first few notes of Crimson Tide, it seems to evoke Suicide Demo For Kara Walker from Kaputt, and even The Laziest River that appears on its vinyl version. There are drawn out notes, luminous progressions and synths which are more pop than ambient. Unsurprising as production was done by John Collins, bassist and member of The New Pornographers who worked on and added elements to the project like a collage after receiving the demos from Dan Bejar (the man behind Destroyer had originally only used GarageBand). The saxophone from Kaputt thus makes a comeback. The band’s pop ambitions may reach their pinnacle with the metallic decadence of Cue Synthesizer, the 1980s-style ballad The Man in Black’s Blues or the kitsch piano of The Raven, but the post-punk melancholy, characteristic of the Canadian musician is apparent on the rest of the tracks. His nasal voice is always present, its poetic prose seeming to scorn a wasted world, accompanying intimate and nebulous melodies which are filled with flowing layers (The Television Music Supervisor, Foolssong). You could think that it may become tiring, but Dan Bejar’s talent is such that he manages to refresh the opus while remaining true to himself. Beautiful. © Charlotte Saintoin/Qobuz

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Have We Met

Destroyer

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1
Crimson Tide
00:06:09

John Collins, Producer, Mixer - Destroyer, Composer, Lyricist, Artist, MainArtist - Destroyer (SOCAN), MusicPublisher

2020 Dead Oceans 2020 Dead Oceans

2
Kinda Dark
00:03:25

John Collins, Producer, Mixer - Destroyer, Composer, Lyricist, Artist, MainArtist - Destroyer (SOCAN), MusicPublisher

2020 Dead Oceans 2020 Dead Oceans

3
It Just Doesn't Happen
00:05:01

John Collins, Producer, Mixer - Destroyer, Composer, Lyricist, Artist, MainArtist - Destroyer (SOCAN), MusicPublisher

2020 Dead Oceans 2020 Dead Oceans

4
The Television Music Supervisor
00:04:09

John Collins, Producer, Mixer - Destroyer, Composer, Lyricist, Artist, MainArtist - Destroyer (SOCAN), MusicPublisher

2020 Dead Oceans 2020 Dead Oceans

5
The Raven
00:03:35

John Collins, Producer, Mixer - Destroyer, Composer, Lyricist, Artist, MainArtist - Destroyer (SOCAN), MusicPublisher

2020 Dead Oceans 2020 Dead Oceans

6
Cue Synthesizer
00:03:55

John Collins, Producer, Mixer - Destroyer, Composer, Lyricist, Artist, MainArtist - Destroyer (SOCAN), MusicPublisher

2020 Dead Oceans 2020 Dead Oceans

7
University Hill
00:03:39

John Collins, Producer, Mixer - Destroyer, Composer, Lyricist, Artist, MainArtist - Destroyer (SOCAN), MusicPublisher

2020 Dead Oceans 2020 Dead Oceans

8
Have We Met
00:02:54

John Collins, Producer, Mixer - Destroyer, Composer, Lyricist, Artist, MainArtist - Destroyer (SOCAN), MusicPublisher

2020 Dead Oceans 2020 Dead Oceans

9
The Man in Black's Blues
00:03:39

John Collins, Producer, Mixer - Destroyer, Composer, Lyricist, Artist, MainArtist - Destroyer (SOCAN), MusicPublisher

2020 Dead Oceans 2020 Dead Oceans

10
foolssong
00:05:45

John Collins, Producer, Mixer - Destroyer, Composer, Lyricist, Artist, MainArtist - Destroyer (SOCAN), MusicPublisher

2020 Dead Oceans 2020 Dead Oceans

Album Description

The most astonishing thing about this thirteenth album from Destroyer is its transformation. Strangely, from the first few notes of Crimson Tide, it seems to evoke Suicide Demo For Kara Walker from Kaputt, and even The Laziest River that appears on its vinyl version. There are drawn out notes, luminous progressions and synths which are more pop than ambient. Unsurprising as production was done by John Collins, bassist and member of The New Pornographers who worked on and added elements to the project like a collage after receiving the demos from Dan Bejar (the man behind Destroyer had originally only used GarageBand). The saxophone from Kaputt thus makes a comeback. The band’s pop ambitions may reach their pinnacle with the metallic decadence of Cue Synthesizer, the 1980s-style ballad The Man in Black’s Blues or the kitsch piano of The Raven, but the post-punk melancholy, characteristic of the Canadian musician is apparent on the rest of the tracks. His nasal voice is always present, its poetic prose seeming to scorn a wasted world, accompanying intimate and nebulous melodies which are filled with flowing layers (The Television Music Supervisor, Foolssong). You could think that it may become tiring, but Dan Bejar’s talent is such that he manages to refresh the opus while remaining true to himself. Beautiful. © Charlotte Saintoin/Qobuz

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