Low synths, the sonic equivalent of being underwater, constitute a minute and a half of opening until Bejar comes in with “Listen, I’ve been drinking.” It is a particularly effective instance of a harmony between the aesthetic sensibility the record tries to pursue-washed-out, indulgent to a fault-while maintaining a certain compositional integrity. The closer, the 11-minute “Bay of Pigs,” is by far the most compositionally rich on the album. Trumpet is looped to create a sort of fugue in support of the meaty funk of bass, and saxophone is particularly effective at channeling wistfulness in lots of notes that die away with vibrato. The title track, complete with a chimey ostinato by the synth, brings to mind a lot of mustachioed men grooving in a pink and purple lit club. The album’s highlights include “Chinatown,” a medium tempo groove based on acoustic guitar strumming, high electric countermelodies, sax runs and plaintive trumpet, and lots of tambourine. (Consider that Kaputt achieved an 8.8 rating from Pitchfork in an article that referenced its smooth jazz overtones positively, calling them “sad and sexy and joyous.”) At other times, I was left wishing that Destroyer had spent more time replicating the complexity and epic scope of the compositions on Rubies, an excellent record, rather than channeling the ‘80s, a decade recognized for its dubious contributions to pop culture. Bejar and Destroyer manage to come off in such a way that they can be taken seriously throughout the record. Drums employ hi hat on upbeats, conveying disco sensibilities.Īt times, the effect can be such that you are struck by the wryness of the entire enterprise. Sax plaintively finishes Bejar's phrases and closes songs with whispered, subtoned warmth. The former is often under the influence of so much reverb that it sounds as if it were recorded in an empty concert hall next door. Trumpet and tenor saxophone make an appearance on every track. ![]() But new to this record is the indulgent feel and channeling of soft rock, disco, and funk bass lines to achieve a dominating aesthetic effect. Some mainstays of Destroyer are still there, especially the dense, almost impenetrable lyrics that demand figurative rather than literal readings and are riddled with non sequiturs. It’s clear from even a cursory listen of Kaputt that the album is an experiment in creating a sonic atmosphere. ![]() Kaputt-with a luxurious feeling conjured by blinding synthesizers, reverbed horns, and washy electric guitar-brings to mind a night of doing salacious things while on your illegal substance of choice, all while listening to smooth jazz. Find a library where document is available.Reviewers have read into the title of Destroyer's new album, Kaputt, to mean a sense of foreboding in an album that talks of “Wasting your days chasing some girls, all right/Chasing cocaine through the backrooms of the world.” Turns out that Daniel Bejar, Destroyer’s frontman and a member of The New Pornographers, just liked the sound of the word when he saw it on a book cover, but never mind.The six-level parking structure is among the largest parking structures in the nation. The article describes the rehabilitation program at the airport where the public parking facility provides more than 20,000 parking spaces in six lots. This remarkable combination is a result of Standard Parking's comprehensive upgrade program, including $60 million in plant rehabilitation, at Chicago's O'Hare airport. The number of parkers has increased, as have gross revenues customer satisfaction is up, and criminal activity is down. AMBIANCE IN PARKING AT CHICAGO'S O'HARE INTERNATIONAL AIRPORT
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