Unlimited Streaming
Listen to this album in high quality now on our apps
Start my trial period and start listening to this albumEnjoy this album on Qobuz apps with your subscription
SubscribeEnjoy this album on Qobuz apps with your subscription
Digital Download
Purchase and download this album in a wide variety of formats depending on your needs.
Shape-shifting Canadian pop craftsman Daniel Bejar's ninth studio album under the Destroyer moniker added a whole lot of Bryan Ferry to a pot already boiling over with copious amounts of Bowie, Dylan, and T. Rex. Bejar's predilection for pairing Oscar Wilde-inspired, semi-apocalyptic witticisms with glam-kissed, minor-seventh retro pop remained intact, but where previous outings like This Night and Streethawk: A Seduction mined the '70s for inspiration, 2011's Kaputt utilizes '80s sophisti-pop, New Romantic, Northern soul, and straight-up adult contemporary to deliver a flawed but fascinating record. Like Goldfrapp's divisive, 2010 retro dance-pop tribute Head First, Kaputt is fully committed to its cause, wrapping everything up in a pristine, immaculately produced biosphere that’s filled to the brim with twinkling synths, soft rock drums, and enough wailing trumpets and saxophones to out-mellow Kenny G, David Sanborn, and Dave Koz combined. Ever the well-read, secretly pleased malcontent (“I write poetry for myself”), Bejar sounds more comfortable in this new disguise than he does on his more troubadour-oriented projects, as if producing the soundtrack for a discotheque with a capacity of one was his intention all along. His epic 11-minute, 2009 single “Bay of Pigs,” which he described at the time as “ambient disco,” could hardly serve as a more fitting conclusion to Kaputt, as it more than lives up to its creator’s boast. “Suicide Demo for Kara Walker,” “Song for America,” “Chinatown,” all of which skillfully tread water between the urbane intellectualism of Donald Fagan or Momus and the quiet, technical nihilism of Talk Talk, differ very little from the remaining six cuts, which may cause fans of his more adventurous work some fits, but there’s no denying their icy, coke-fueled 2:00 A.M. elegance.
© James Christopher Monger /TiVo
You are currently listening to samples.
Listen to over 100 million songs with an unlimited streaming plan.
Listen to this playlist and more than 100 million songs with our unlimited streaming plans.
From 12.49€/month
Destroyer, Artist, MainArtist
2011 Dead Oceans 2011 Dead Oceans
Destroyer, Artist, MainArtist
2011 Dead Oceans 2011 Dead Oceans
Destroyer, Artist, MainArtist
2011 Dead Oceans 2011 Dead Oceans
Destroyer, Artist, MainArtist
2011 Dead Oceans 2011 Dead Oceans
Destroyer, Artist, MainArtist
2011 Dead Oceans 2011 Dead Oceans
Destroyer, Artist, MainArtist
2011 Dead Oceans 2011 Dead Oceans
Destroyer, Artist, MainArtist
2011 Dead Oceans 2011 Dead Oceans
Destroyer, Artist, MainArtist
2011 Dead Oceans 2011 Dead Oceans
Destroyer, Artist, MainArtist
2011 Dead Oceans 2011 Dead Oceans
Album review
Shape-shifting Canadian pop craftsman Daniel Bejar's ninth studio album under the Destroyer moniker added a whole lot of Bryan Ferry to a pot already boiling over with copious amounts of Bowie, Dylan, and T. Rex. Bejar's predilection for pairing Oscar Wilde-inspired, semi-apocalyptic witticisms with glam-kissed, minor-seventh retro pop remained intact, but where previous outings like This Night and Streethawk: A Seduction mined the '70s for inspiration, 2011's Kaputt utilizes '80s sophisti-pop, New Romantic, Northern soul, and straight-up adult contemporary to deliver a flawed but fascinating record. Like Goldfrapp's divisive, 2010 retro dance-pop tribute Head First, Kaputt is fully committed to its cause, wrapping everything up in a pristine, immaculately produced biosphere that’s filled to the brim with twinkling synths, soft rock drums, and enough wailing trumpets and saxophones to out-mellow Kenny G, David Sanborn, and Dave Koz combined. Ever the well-read, secretly pleased malcontent (“I write poetry for myself”), Bejar sounds more comfortable in this new disguise than he does on his more troubadour-oriented projects, as if producing the soundtrack for a discotheque with a capacity of one was his intention all along. His epic 11-minute, 2009 single “Bay of Pigs,” which he described at the time as “ambient disco,” could hardly serve as a more fitting conclusion to Kaputt, as it more than lives up to its creator’s boast. “Suicide Demo for Kara Walker,” “Song for America,” “Chinatown,” all of which skillfully tread water between the urbane intellectualism of Donald Fagan or Momus and the quiet, technical nihilism of Talk Talk, differ very little from the remaining six cuts, which may cause fans of his more adventurous work some fits, but there’s no denying their icy, coke-fueled 2:00 A.M. elegance.
© James Christopher Monger /TiVo
About the album
- 1 disc(s) - 9 track(s)
- Total length: 00:50:03
- Main artists: Destroyer
- Label: Dead Oceans
- Genre: Pop/Rock Rock Alternative & Indie
2011 Dead Oceans 2011 Dead Oceans
Distinctions:
Improve album informationWhy buy on Qobuz...
-
Stream or download your music
Buy an album or an individual track. Or listen to our entire catalogue with our high-quality unlimited streaming subscriptions.
-
Zero DRM
The downloaded files belong to you, without any usage limit. You can download them as many times as you like.
-
Choose the format best suited for you
Download your purchases in a wide variety of formats (FLAC, ALAC, WAV, AIFF...) depending on your needs.
-
Listen to your purchases on our apps
Download the Qobuz apps for smartphones, tablets and computers, and listen to your purchases wherever you go.