This Night: Daniel Bejar is a blessed collaborator and the “gentle nudge” of Fisher Rose’s drums beat on with a Rabelaisian wonder.
Holly Going Lightly: YES OH YES, the cinephile as songwriter can overcome all our weary tropes when truly inspired by the emotions crystallized and conveyed.
Here Comes The Night: Do you like David Bowie’s Pin Ups? Well, sure I do! Also, see This Night for further extrapolation and commentary on what sets this number apart from its precursors and future citings in Bejar’s discography.
The Chosen Few: Only a fool would think that Scott Morgan’s absence on the kit would preclude a sea change in stylistic endeavor that would manifest 8 years later on Kaputt: his nylon string strummings give an attitude that shapes Bejar’s 1st generation immigrant distance true weight: what he will become has no precedent, yet he is inextricably linked to the distant sounds of a past life an ocean away.
Makin’ Angels: People get mad when pondering the “bloat” of a studio record: the pomp of such detachment has led to some unparalleled sonic feats, yet if you let the seemingly smug self-satisfaction drip through, it may very well undo all the good will lent by a thousand knowing nods from this weary eyed traveller of the great pacific northwest’s many moods.
Modern Painters: I take back everything I said: this is it man, that compact studio sound. Purposeful snare fills, somehow no frills.
Crystal Country: Chief amongst complaints about dudes (the pile growing in a manner familiar to anyone in the know with regard to landfill techniques for waste management [an issue that lies at the crux of our failings on environmental, personal, emotional and consumptive fronts]) is the lack of ability to commit to something, ANYTHING!
Trembling Peacock: When you fall for an artist’s charms, you are willing to endure almost any turn; left, right or off. In this instance, I have found myself oscillating wildly between a pure, if not deranged, love of the techniques unflinchingly applied and a kind of distaste that needs immediate silence to undo the alarming affront to my sense of decency. This is a man unsparing of himself: staying composed long enough to almost finish the thought.
I Have Seen a Light: Have you found something abhorrent, problematic, clumsy about the way in which these words are conveyed to you? Fair.
Students Carve Hearts Out of Coal: The organ here: hoo boy. Piano plays such a crucial part in the general proceedings: rock and roll!?
Self-Portrait With Thing (Tonight is Not Your Night): The rollicking live tour of 2012 featured some inspired takes on Rubies, This Night, Your Blues and even Trouble in Dream. I will always cherish the calm figure with a beer bottle held in place by two splayed fingers, crouching while studying the set list.
The Relevant Ballads: Why did it take a 2015 interview to have Dan Bejar to confess to pledging allegiance to Van Morrison?
The Night Moves: When you’re alone under a starry night near a body of water whose name you can’t quite pronounce without falling in to a chuckle or a abrupt, muffled trailing off and the stillness of everything caustic in your lifetime attempt to balance your desire for gratification with offering utility to those who endeavor to pursue their own parallel to you brings you to a place in which you know in your heart of hearts you must let die that nagging thread that you cannot deny of brazenly detailing your purported knowledge of the immaterial.
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