• Destroyer Poison Season Youtube
• Destroyer Poison Season Tracklist
• Destroyer Poison Season Torrent

Destroyer - Poison Season (2015) [FLAC] 4 torrent download locations monova.org Destroyer - Poison Season (2015) [FLAC] Other 1 day torrentfunk2.com Destroyer - Poison Season (2015) Music. 2-LP + 12-inch Bundle consists of Destroyer's new full-length, Poison Season, and a two-song 12-inch that includes a remix of album track “Forces From Above” and the orchestral version of “Times Square, Poison Season.” LP includes a coupon for a. Oct 13, 2015 - (Destroyer – Poison Season Album Leak Download.

Poison Season is the tenth studio album from Destroyer, released on August 28, 2015 by Merge Records and Dead Oceans Records.^[1]

• 2Critical reception

Release[edit]

The first song released from Poison Season, 'Dream Lover', was posted on SoundCloud on May 21, 2015.^[2] The album's release date, track list, and artwork were announced the same day.^[2]Marcuse the end of utopia pdf.

A second song from Poison Season, 'Girl in a Sling', was released online on July 8, 2015.^[3] On the same day, the music video for 'Girl in a Sling', directed by David Galloway, was released.^[4] The video cuts back and forth between shots of Bejar, who's working in a darkroom and singing in the shadows, and residential areas in decay. Director David Galloway explained in a press release that the video's tragic tone is meant to fit the album's overall vibe:

Bejar sings a lot about cities and girls and injury, sometimes all at the same time. Sometimes they are the same thing, as surreal novelists would have us believe. Besides, people like to see Dan sing—which he doesn't do a lot of in this video, but he does do a little bit. We wanted to make a video that dealt with central Destroyer themes: to some, Destroyer is a lech; to some, he is an arsonist; to some, he is a savior. To me, he is the consummate comedian, but he resists that role. So we decided to go the opposite way and make something sad, something tragic, something that fits the new record. The adage “comedy equals tragedy plus time” is attributed to Carol Burnett's mum. Or it might have been Steve Allen. Either way, I always want Dan to do physical comedy, but he resists. He's a natural, though. He's the Pacific Northwest's Buster Keaton, and I hope one day to share that with the world. One day. For now, though, there's just this sadness. This poison season.

A third song from Poison Season, 'Times Square', was released on August 12, 2015 on SoundCloud.^[5] On August 27, 2015, a day before Poison Season's release, a stop motion music video for 'Times Square', directed by Shayne Ehman, was released.^[6] The music video features Dan Bejar singing to the camera as a number of anthropomorphized forest friends rendered with stop-motion animation sing and dance along. The director, Shayne Ehman, described the process of making the video:

We ended up just wandering around New York til 3am and the city seemed completely dead. We could have been anywhere, really. I needed to get outside and shoot in natural light in order to serve as a sort of conduit for those 'forces of nature in love..' which seem to rule the song. I let the sun do its thing and let the earth do it's thing and watched time unfold. I watched the clouds unfold and unpack and packup. I was at their mercy, completely.

Critical reception[edit]

Poison Season received widespread critical acclaim from music critics upon its release. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 86, based on 26 reviews, indicating 'universal acclaim'.^[8]

Jayson Greene of Pitchfork gave the album a favorable review stating, 'Poison Season retains the sumptuous melancholy of Kaputt, leavening it with the elegant swoon of Nelson Riddle-era Frank Sinatra. There are string arrangements all over Poison Season, and they are gorgeously recorded: the orchestra on 'Girl in a Sling' sounds like 180-gram vinyl even while in earbuds. Destroyer has always partly been a nostalgia project, even when Bejar's nostalgia was decidedly ersatz—his records aim to stir the feelings that classic recordings arouse in us. Streethawk hearkened back to glam-rock Bowie even if the resemblance was off, and the magic of Kaputt was partly that of a peculiar and gnomic figure like Bejar conjuring the jaded romanticism of Bryan Ferry. On Poison Season, he visits a different section of his record collection, one that predates rock'n'roll, and he applies all the studied love and imagination to the endeavor we've come to expect from him.'

Accolades[edit]

Track listing[edit]

Personnel[edit]

Destroyer Poison Season Youtube

• Daniel Bejar – MIDI, mixing, producer, vocals
• John Collins – bass
• Ted Bois – piano, Roland D50
• Nicolas Bragg – electric guitar
• Fabiola Carranza – cover photo
• David Carswell – acoustic guitar, electric guitar, MIDI, mixing, producer
• JP Carter – effects, trumpet
• Maggie Fost – design
• Dave Graham – engineer
• Henry Lee – viola
• Peggy Leo – cello
• Jeff Lipton – mastering
• Tyson Naylor – DX-7, piano
• Erik Nielsen – assistant engineer
• Dylan Palmer – contrabass
• John Raham – editing, engineer, string mixing
• Maria Rice – mastering engineer
• Joseph Shabason – flute, saxophone
• Stefan Udell – string arrangements
• Josh Wells – bongos, congas, drums, percussion
• Rebecca Whitling – violin
• Jesse Zubot – arranger, editing, string mixing, viola, violin

Charts[edit]

Destroyer Poison Season Tracklist

References[edit]

1. ^[1]^{[dead link]}
2. ^ ^abMinsker, Evan (May 21, 2015). 'Destroyer Returns With Poison Season, Shares 'Dream Lover''. Pitchfork Media. Retrieved October 14, 2015.
3. ^ ^abMinsker, Evan (July 8, 2015). 'Destroyer Debuts New Song 'Girl in a Sling' With Dark Music Video'. Pitchfork Media. Retrieved October 14, 2015.
4. ^Galloway, David (July 8, 2015). 'Destroyer - Girl in a Sling'. Vevo. Retrieved October 9, 2015.
5. ^Monroe, Jazz (August 12, 2015). 'Destroyer Shares 'Times Square''. Pitchfork Media. Retrieved October 9, 2015.
6. ^Ehman, Shayne (August 27, 2015). 'Destroyer - Times Square'. Vevo. Retrieved October 9, 2015.
7. ^Monroe, Jazz (August 27, 2015). 'Destroyer Shares Stop-Motion 'Times Square' Video'. Pitchfork Media. Retrieved October 9, 2015.
8. ^ ^ab'Reviews for Poison Season by Destroyer'. Metacritic. Retrieved August 28, 2015.
9. ^Donelson, Marcy. 'Poison Season – Destroyer'. AllMusic. Retrieved August 29, 2015.
10. ^Brusie, David (August 28, 2015). 'On Poison Season, Destroyer broadens its sound with oddball charm intact'. The A.V. Club. Retrieved August 29, 2015.
11. ^Vain, Madison (August 28, 2015). 'Poison Season by Destroyer: EW review'. Entertainment Weekly. Retrieved October 11, 2015.
12. ^Lynskey, Dorian (August 20, 2015). 'Destroyer: Poison Season review – overwhelming, aggravating, brilliant'. The Guardian. Retrieved August 29, 2015.
13. ^'Destroyer: Poison Season'. Mojo (262): 90. September 2015.
14. ^Hewitt, Ben (August 6, 2015). 'Destroyer – 'Poison Season''. NME. Archived from the original on March 5, 2016. Retrieved October 11, 2015.
15. ^Greene, Jayson (September 3, 2015). 'Destroyer: Poison Season'. Pitchfork. Retrieved September 3, 2015.
16. ^'Destroyer: Poison Season'. Q (351): 106. October 2015.
17. ^Dolan, Jon (August 28, 2015). 'Poison Season'. Rolling Stone. Retrieved August 29, 2015.
18. ^Hogan, Marc (August 28, 2015). 'Review: Destroyer Humanizes Times Square and Follows Your Rose on Poison Season'. Spin. Retrieved August 29, 2015.
19. ^'The 50 Best Albums of 2015'. Pitchfork. December 16, 2015. Retrieved December 16, 2015.
20. ^'The Top 75 Albums of the Year'. Uncut. December 2015.
21. ^'Ultratop.be – Destroyer – Poison Season' (in Dutch). Hung Medien. Retrieved September 4, 2015.
22. ^'Dutchcharts.nl – Destroyer – Poison Season' (in Dutch). Hung Medien. Retrieved September 5, 2015.
23. ^'Longplay-Chartverfolgung at Musicline' (in German). Musicline.de. Phononet GmbH. Retrieved September 5, 2015.
24. ^'Swisscharts.com – Destroyer – Poison Season'. Hung Medien. Retrieved September 9, 2015.
25. ^'Official Albums Chart Top 100'. Official Charts Company. Retrieved September 5, 2015.
26. ^'Destroyer Chart History (Billboard 200)'. Billboard. Retrieved September 9, 2015.

External links[edit]

Destroyer Poison Season Torrent

Best new music

Dan Bejar returns with a brilliant and accessible album that draws from the lush sounds of the early 1980s but never forgets the importance of songwriting.

Every era has a sound. When considering this, it can be easy to forget that the sound developed as a way to express something. Music heard as kitsch years later was once put forth with complete sincerity. I mention this in connection with Kaputt, the new record from Dan Bejar's Destroyer, because the first thing that strikes you about the album is its unusual sound, one for which we've all developed a cluster of associations. The production and arrangements evoke a narrow window of time-- sometime between, say, 1977 and 1984, or between Chuck Mangione's 'Feels So Good' and Sade's Diamond Life with stops along the way for Roxy Music's Avalon and Steely Dan's Gaucho. It slides between soft rock, smooth jazz, and new romantic pop. The bass is fretless; the synths have the blocky contrast of a Nagel painting; there are heavily reverbed trumpets and saxophones that almost serve as a Greek chorus, trilling away at the end of every line to enforce the beautiful plasticity of these songs. For Destroyer, this sound is new, and it's there for a reason.

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The sound casts Bejar's songs in a very particular light, and reinforces the feeling of the singer as persona. Bejar has always come across this way to varying degrees, sure, and his albums all have their own unique feel-- the rootsy art-pop of Destroyer's Rubies, the MIDI experiments of Your Blues, and so on. But here the persona seems even more sharply defined. Singing these songs, Bejar comes over as the wizened ex-playboy; he's indulged every vice, come through the other side, and now looks on amused. The cover of Leonard Cohen's Death of a Ladies' Man, a record that seems to serve as a spiritual (though not sonic) father to this one, shows this figure in its quintessential form. On that sleeve, we see a man in sharp but slightly disheveled dress, a cigarette dangling from a couple of fingers; beautiful people are seated at the nightclub table, ready for another night of glamor and pleasure.

Leonard Cohen in that image has a sense of swagger, and you want to pull up a chair, have a drink, and hear him hold forth on the topic of his choice. The figure inside the songs of Kaputt understands the allure of this life while understanding equally its futility. On early listens, a couple of lines from the title track jump out and seem to serve as a thesis for the record as a whole. 'Wasting your days chasing some girls, alright/ Chasing cocaine through the backrooms of the world all night,' Bejar sings, as horns twist around in a bath of reverb. He sounds bemused, but not necessarily judgmental, holding two feelings in mind at once: our reflex to indulge ourselves, and the knowledge that it's killing us.

But this happens on just one level, which is what makes Kaputt so fantastic. It goes as deep as you want to go. People can miss that Dan Bejar is funny as hell-- he seeds his music with lyrical and musical in-jokes, and everyone has their own favorite lines to pluck out of his songs and admire for their concise wit. He likes surprises-- few lyric sheets have as many exclamation points. But the essential quality of all his records is complexity. They are doing a lot of things at once. Kaputt feels rich.

For one, there is the surface beauty of the sound. Some less inclined to the pleasures of the music from the aforementioned era might have an initial reaction to its essential corniness, but once you've tuned in, it sounds beautiful. The songs seem delicate and glassy and shimmering, and Bejar has toned down his quirky voice and sounds relaxed and focused. So it's easy to enjoy bumping the wet, jazzy pop of 'Chinatown', which suggests the rainy streets of an old city and new dramas unfolding around every corner. Or wallow in the simple and elegant hook of 'Blue Eyes', the way Bejar voice works next to Vancouver singer Sibel Thrasher, a regular vocal presence on Kaputt who sort of serves as the Nicolette Larson to Bejar's Neil Young. But 'Blue Eyes' also has sly lyrical references ('your first love's new order,' 'Mother Nature's Son') and funny put-downs ('I sent a message in a bottle to the press/ It said, 'Don't be ashamed or disgusted with yourselves'). More than any other Destroyer record, you can just throw this on and it sounds good, and plenty will do well stopping there. But for those so inclined, there's more to explore.

So the lite-jazz style can seem a little funny, but it can also be sad and sexy and joyous. And the writing is dense with references-- to other songs on the album, songs by other bands, to the music business, art outside the sphere of music. 'Suicide Demo for Kara Walker' is the most striking example. It's a collaboration with the artist Kara Walker, whose work, among other things, probes the racial history of America. Bejar adapted the words she provided for him on cue cards, and the result is fragmented and dream-like, taking the Destroyer project to a new place. 'Wise, old, black and dead in the snow: My Southern sister..' isn't the sort of thing we've heard from him before. An early demo of the song reminded Bejar of the band Suicide, hence the title. That's how things work in his world. Laughs are mixed with grim insights.

Two tracks stick out a bit here. The astonishing 'Bay of Pigs', released as a single in 2009, concludes the CD version of this album, and it's the one song that feels out of place. It's longer, proggy, uses different textures, and ultimately seems to be here because it's an amazing song and as many people as possible need to hear it. Fair enough. And the vinyl version of Kaputt also has a side-long, 20-minute ambient track with just a bit of voice called 'The Laziest River', which is enjoyable and immersive but not essential. Both indulgences are easily forgivable.

Bands can be brands or concepts that can be summed up in a line or two-- which is the power of brands. It's a good thing in proper doses. But Bejar's essential complexity ultimately feels human. It seems absurd to look for genuine wisdom in music in 2011, when we're constantly gorging ourselves on the all-you-can-eat buffet of post-modern web culture. But Kaputt feels wise. Like a mirror that actually points back at something better. Something you can jam and let wash over you, but also something you can use. It feels funny, tragic, artful, and ultimately true.

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