Labyrinthitis is the closest Dan Bejar has come to crafting a universally enjoyed pop record since 2011's Kaputt. With an emphasis on electronica, ambient, sampling, drum machines, and even hip hop, Bejar takes plenty of risks resulting in some big pay offs.
The ever so coy and poetic Dan Bejar, who goes by the Destroyer alias, has been kicking around with his solo records since the mid 1990's, creating avant garde folk and pop music with his distinctly nasally vocal delivery. While also being a member of the acclaimed indie rock legends The New Pornographers (I'm assuming he's still a member?), Bejar has been on a new wave influenced kick of records. The widely acclaimed Kaputt came out over ten years ago already and we've had numerous Destroyer albums to come out since: the lavish and jazzy Poison Season, the new wavy ken and Have We Met. I loved Poison Season and it continues to be my personal favorite of Bejar's but I still have mixed feelings towards the other two, specifically due to the production choices. ken was at least a tasteful record but the dated and obtuse new wave production from Have We Met still hasn't won me over. Apparently fans and critics have been slightly divided as well, leaving the last universally acclaimed record of his to be from 2011, being Kaputt. In fairness, Bejar has always been a polarizing figure and his vocal delivery / lyrical themes haven't been everyone's cup of tea. It definitely takes some time to acquire for some listeners; my first time hearing his vocals wasn't a positive reaction but now it wholeheartedly is.
The catchiness and easy to digest 80's pop from Kaputt helped gain so many new fans (possibly more than he was hoping for, but oh well...) and there has been some attempts at rekindling the Kaputt fire, but no huge success has matched it. His new album, titled Labyrinthitis, is what I strongly believe to be the closest Bejar has been to crafting a universally enjoyed pop record since Kaputt. It's for fans and newcomers alike and Bejar takes plenty of risks in the process, resulting in some big pay offs. Many of these songs are some of the most immediate I've ever heard from Destroyer but also some of the strangest and oddest, even more so than some moments from Kaputt. Labyrinthitis is incredibly groovy, beautiful and cinematic at points, and features more new wave production (only this time it's widely more varied and tasteful than the previous two attempts). There's a larger emphasis on electronica, ambient, sampling, drum machines, and even hip hop. Songs like the incredibly inviting "It Takes a Thief," "Eat the Wine, Drink the Bread," and "June" are so exciting to listen to that it's the most joyful I've been anticipating a new Destroyer record in years.
Bejar dives into being an instrumentalist on some tracks, making some captivating moments that don't necessarily need to rely on his unique vocals. The opening seven minute epic "It's In Your Heart Now" barely has any vocals with Bejar just reciting a few lines over its atmospheric and dreamy sound that's pure ear candy, much like the rest of the record. The title track is an ambient instrumental with some child vocal and water samples over a pretty synth piano ballad. There's some unique vocal manipulations I've never heard on a Destroyer album like the robotic pitched vocals on "Suffer" or the pitched down rap breakdown towards the end of "June." Yes, I said rap breakdown and Destroyer in the same sentence. No, I'm not having a stroke. It actually goes over extremely well and it's one of the biggest surprises on the record. "Tintoretto, It's for You" is a heavy hitting banger with some wailing synthesizer, saxophone, guitars and cymbals crashing over Bejar's mumble. I did previously mention "It Takes a Thief," which has the biggest and meanest grooves I've ever heard on a Destroyer song. It also has the slickest sax solo I've heard in a long time. The grooves on "Eat the Wine, Drink the Bread" are undeniable and has some of the most Destroyer lyrics ever ("I piss on the floorboards, the whole world's a stage").
Undeniable is a great summation to describe my overall experience with Labyrinthitis (the album, not the disease). Every song has its uniqueness and quirks and yet they all come together into a seamless album. Compared to more recent releases from Bejar, it seems that he's having a lot of fun experimenting with new sounds and honing into the craft of making great pop music too. I haven't been this excited about a new Destroyer album since Poison Season from 2015 and that's some great news. Some of these songs might not be for every Destroyer fan, possibly the more instrumental ones or the groovier ones (depending on your taste) but they should suffice most fans. I personally don't see any reason for any fan to come away from this one disappointed, unless you're just looking to complain. It should be universally acclaimed, almost a much as Kaputt in my opinion (don't worry Destroyer fans, I said almost!) and it's one of the most fun albums I've heard all year. A happy Dan Bejar is a happy album experience for me... I'm assuming he's happy? At least instrumentally he is.
My Rating: 8 / 10
Favorite Songs: "It Takes a Thief," "Eat the Wine, Drink the Bread," "June," "Tintoretto, It's for You," "It's In Your Heart Now"
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