Destroyer's songs sound like the soundtrack to a movie that exists only in his mind. An '80s-style noir flick, maybe, set in some retro-futuristic cityscape where wet pavement glistens with the reflection of neon lights. Here's erdanton's review -
, on which the only actual instruments are electric guitar and bass—and a whole lot of electronic accompaniment, including synthesizers, keyboards and beats.Have We Met
never lacks for atmosphere, or a sense of unpredictability that feels kinetic. In fact, the album opens on a capricious note with “Crimson Tide,” where Bejar suddenly switches metaphors while describing himself in the first verse. “No wait, I take that back / I was more like an ocean / Stuck inside hospital corridors,” he sings over barely-there synths, just before a bold electronic snare-kick combo comes in, compressed to sound like a tennis ball bouncing off concrete.
Bejar frequently plays with the meter of his vocals, cramming torrents of words into tight measures of music, or drawing them out on his lips like he can’t quite bear to let them go. Sometimes he sprinkles lyrics over the music like they’re some kind of topping, without regard for pattern.
The balance between eccentricity and accessibility is not an easy one to strike, but Bejar has had some practice at it. Not only ishis 12th album as Destroyer, a project that has afforded him the time and space to follow his creative impulses, he was also contributing some of ’ most memorable songs toward the end of his tenure with them, which ended in 2017. Wherever those impulses end up leading, it’s a safe bet that Bejar’s path won’t be a straight line.
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