Destroyer Poison Season Merge Records Dream Lover, the lead single from Destroyer’s Poison Season, owes a massive debt to Bowie’s classic album Young Americans. Wailing saxophones underlay wailing vocals which underlay wailing guitars.

Dream Lover, the lead single from Destroyer’s Poison Season, owes a massive debt to Bowie’s classic album Young Americans. Wailing saxophones underlay wailing vocals which underlay wailing guitars. It’s a very soulful and brilliantly written track, one fitting of an evolutionary Dan Bejar – a Dan Bejar who has been eclipsing his role in The New Pornographers with this project. Poison Season is as big a statement as any Bejar has made in the past. Its orchestral instrumentation, twisted pop and crooned vocals echo John Lennon’s more out-there moments. This Beatles influence rings through very loudly in the strings of Hell and the soft piano of The River, while loungey saxophones and muted trumpets permeate every other corner of the record. The brass lends an air of noirish, smoky jazz to tracks like Bangkok, which build on Destroyer’s primary elements of solid indie rock and intelligent lyricism.

It’s all testament to Bejar’s undeniable craftsmanship. Poison Season is a clever record, it’s big and bold but at the same time it has some offensively grandiose moments.

So much so that the record’s extravagance ends up feeling bittersweet. At times you could be forgiven for thinking you’re listening to a Disney soundtrack or the cast recording of a Broadway show. Just take a listen to Girl In A Sling and see if you don’t picture a lost cartoon dog singing to the moon as he wanders his way back to the family home.

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Stanton warriors discography torrent. While membership in Canadian power-pop supergroup brought attention from a generation of indie-rock fans, Dan Bejar was already two albums deep into his solo project,. Bejar’s earliest albums reveled in glam at a time when such archness and excess stood at odds with the prevailing trends in independent music. But as Bejar got out his T. Rex and side via the increasingly knotty songs he contributed to The New Pornographers, Destroyer’s own albums got progressively more obtuse, be it in the MIDI flourishes of 2004’s Your Blues or the acoustic-electric guitar twists of Trouble In Dreams.

But with 2011’s Kaputt, Bejar and his poetic, perpetually unspooling lyricism found its most fertile sound bed to date. His ’70s rock fixation gave way to the glossy tones of the early 1980s, imagining a parallel world wherein T. Rex’s Marc Bolan survived into the new decade and decided to use ‘s session men. Here, Bejar’s cantankerous, acidic lines were couched in the smoothest of jazz, the anger giving way to the melancholic, the bitter pill sipped with some cognac.

And that sax! Such sounds carry over to the 10th Destroyer album, Poison Season, on which the heaving strings in “Times Square, Poison Season I” are lush enough to soundtrack a soap opera. That saxophone bursts back into view with “Dream Lover,” as if had mistaken Bejar’s studio for ‘s. More sax skronk also appears in “Midnight Meet The Rain,” its conga-laced beat and wah-wah guitar bringing to mind a ’70s cop-show theme song. But nothing can ever be that straight-ahead for Bejar, who brings everything to a complete stop mid-song, to where a stool can be heard creaking in the room before everything revs back up to full speed. As is often the case in Bejar’s work, he touches upon the rock music that came before him, his whispers on Poison Season bringing to mind the likes of ‘s weary playboy circa Avalon, as well as Al Stewart’s gentle croon on Year Of The Cat. But Destroyer is judicious to draw from the more neglected corners of the canon, too.

Certain turns of phrase bring to mind singers like and when they’d all but sabotaged their careers, avoiding all the concessions of pop in favor of their own muses’ peculiar paths. There may be no more elegant moment in Bejar’s catalog than “Girl In A Sling,” which begins with electronic ambient washes that twinkle like stars. Almost a minute in, strings and woodwinds appear and overtake the song, gracefully carrying it off into dreamland. When Bejar’s voice comes back, it’s the sound of him approximating Harry Nilsson when he himself did his best approximation of ‘s In The Wee Small Hours. “I’m been sifting through these remains for years / Bitter tears / Bitter pills / Oh, it sucks when there’s nothing but gold in those hills,” Bejar sings in his cracked coo, before he returns to the task of mining discarded sounds and reclaiming them.