Destroyer
Destroyer's Rubies

THE REVIEW

Daniel Bejar, the author of all the tracks and the only unmovable member of the ensemble called Destroyer, is afflicted by a lucid madness, accompanied by a sort of aura that has always distinguished the "thoroughbreds"; I already noticed this while listening to his previously recommended work, "Your Blues", through which I, alas, discovered him belatedly.

The bearded "Destroyer" has been in the musical arena for at least a decade, leading that multicolored army from Canada that has taken on a "mission impossible": the triumph of quality pop, sometimes orchestral, rich with influences, especially European, particularly art-rock, with no concern for chart climbs. To this end, Bejar's contribution as an author and guitarist is fundamental both for the main project he participates in, The New Pornographers, a sort of Canadian indie-pop all-stars born towards the end of the past millennium, and as a reference point for the very lively scene moving between Vancouver and Toronto, with artists of the caliber of The Dears, Stars, Feist, Apostle of Hustle, just to name a few.

With his latest album "Rubies", he confirms, fortunately for those who love his odd and prosperous melodies, that he has not healed, quite the contrary. In some respects, the endeavor to which he has dedicated himself this time is even more complicated than the previous one. Indeed, more than with "Your Blues", the influences, the citations increase and the juxtaposition of musical elements from seemingly distant genres become more daring and surprising. With all this incandescent and heterogeneous material (the best pop of Albion descent, rock between Bowie and T. Rex, chamber music, American folk, blues) more than one would have burned or produced very unappetizing concoctions. Bejar and his group, however, manage to dominate it and produce songs that have a perverse charm, ending up attracting you like a magnet. Tracks that often exceed five minutes, with no rush to conclude, multicentric, sometimes lazily lingering on a guitar arpeggio or a refrain.

Already the first one, the title track of the album, would be a presentation of disarming naivety, almost self-destructive, for pop, nine and over minutes are more than ever an eternity today if there wasn't the suspicion that it was placed there precisely to immediately select those who can go beyond, the minority who share his same aesthetic ideals. The track seems to be written and sung in the first part by a Paddy McAloon dedicated to alcohol and with a more caustic sense of humor, then gradually losing the verve and electricity, becoming an acoustic and intimate ballad; let it be said plainly: others, with the insights and ideas present here alone, make half an album.
"European Oils" is the most catchy and sunny track, it will be difficult not to hum along on "yes" days, with a crescendo finale, now a sort of trademark, in which, besides the piano and the choirs, a well-crafted electric guitar solo also participates. Just as you will end up not being able to do without songs like "Painter in Your Pocket", with its percussive gait, Dan's guitar weaving lazy melodies and an engaging refrain that appears towards the end, leaving you no escape; or more intense tracks like "3000 Flowers", a respectful but not reverent homage to the Thin White Duke. The versatility and potential of our person even in more purely "rock" fields end up surprising you, especially in the track that closes the work, "Sick Priest Learns to Last Forever", an electric blues vaguely inspired by Hendrix.

An album, therefore, dense and light, carefree and melancholic at the same time, confirming Bejar's pure class and unbridled imagination, as a high-level songwriter. I really believe these "rubies" will proudly stand out in the personal diadem at the end of the year.