“Kaputt” doesn’t go kaputt

Kaputt doesnt go kaputt

Frontman Dan Bejar’s smart, funny lyrics are just one of the many things that makes this album great.

Kale Walch, Staff Writer

As long as humans have ears, pioneering artists will continue to produce new sounds for them. Destroyer does just this with their new album “Kaputt,” putting out a collection of pseudo-revolutionary sound to the tune of indie rock and smooth jazz.

If the Psychedelic Furs and the guitarist from The Cure and Miles Davis and several old women background singers got together and made an album, it would sound remarkably like this.

Though odd, all of these elements come together well; the smooth jazz/indie rock/electronic styles all converge here to produce something brilliant. The sound altogether sounds similar to a commercial from the 80’s, a golden age where pop music was still tolerable.

“Kaputt” feels more complete, more rich than perhaps any album in the last ten years. The instrumentation is tightly packaged, and brilliantly constructed. Lead singer Dan Bejar’s smart, funny lyrics provide a whole new layer to the album; he wastes no time in dissecting the social structure of America, saying in track four, that “New York just wants to see you naked, (And they will). They’d never say so.” Bejar presents the truth that is usually avoided by society.

The title track, “Kaputt,” is perhaps the most accessible and best-sounding on the album; the signature trumpet and saxophone solos are featured throughout, as well as deep, sliding bass and smooth electric guitar riffs.

This track is centered around a catchy, repetitive chorus. Bejar’s vocals may not be “technically proficient,” but they fit this bizarre sort of music perfectly.

The smartest track on the album, “Suicide Demo for Kara Walker,” features a lengthy opening instrumental centered the distinct tone of the flute, which could stand alone as a complete work. About four minutes in, Bejar begins his social commentary to the tune of chamber pop.

Track two, “Blue Eyes,” sounds little like the rest of the album; here, Bejar’s vocals are layered against two distinct female voices, producing an appealing sound as a result. This track displays Bejar’s brilliant ability to use and place musical hooks, no more, no less than the listener can handle.

Bejar’s hard work resulted in one of the richest albums produced in a long time, a by-product of the dense instrumentation and witty lyrics. “Kaputt” certainly deserves to be heard, more perhaps than many albums of this day.