Dan Bejar started
Destroyer as a solo project in Vancouver in 1995. His first album, We'll Build Them a Golden Bridge, was an electric
folk record, setting the stage for the early
Bowie comparisons that were certain to follow his particular vocal style. In 1998, Bejar added a rhythm section and took them into the studio for the first time. The resulting recording, City of Daughters, is a sparsely produced collection of catchy pop songs in which Bejar's increasingly obtuse lyrics really start to stand out. Thief, again recorded in Vancouver, was released in 2000, but by now the lineup had expanded into a quintet. The sparse production and the
Bowie comparisons remained, but Bejar's cryptic lyrics and unique voice gave this rant against the music industry an original quality missing from many of that year's releases.
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Dan Bejar started
Destroyer as a solo project in Vancouver in 1995. His first album, We'll Build Them a Golden Bridge, was an electric
folk record, setting the stage for the early
Bowie comparisons that were certain to follow his particular vocal style. In 1998, Bejar added a rhythm section and took them into the studio for the first time.
The resulting recording, City of Daughters, is a sparsely produced collection of catchy pop songs in which Bejar's increasingly obtuse lyrics really start to stand out. Thief, again recorded in Vancouver, was released in 2000, but by now the lineup had expanded into a quintet. The sparse production and the
Bowie comparisons remained, but Bejar's cryptic lyrics and unique voice gave this rant against the music industry an original quality missing from many of that year's releases.
The following year would see
Destroyer's fourth album,
Streethawk: A Seduction.
Streethawk begins right where Thief leaves off. The production and the sound remain solid, but the lyrics have become even more obtuse. Stuck somewhere between literacy and nonsense, they must be considered
poetry because any attempt to decipher meaning, however hidden, might drive the listener crazy.
This Night was the next release, an oblique and melodic album that portrayed Bejar as a ranting, depressed singer.
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