STREETHAWK: A SEDUCTION

Great album, light on art but the tunes are priceless.

Currently obsessed with this album. It's so good!

Always love Destroyer..

Ok, so, Dan Bejar has that glammy (think Mott the Hoople not Poison) thing in his voice but don't hold that against 'em. Granted it takes some getting used to but, damn, does he got the goods! Unassuming piano & guitar powered pop rock arift with clever lyrical twists, a healthy dose of cynicism, referential bits, and just enough pathos to make it a keeper. This has all the best bits of the singer/songwriter craft. Bejar has a vision! And it is this that connects this back to the origins of indie/"alternative" rock. Say what you got in the voice you got without concerns for what the "market" says is the way to sound. By the way I take the bandname as well as the album name as an ironic take on rock mores. What are they destroying and who are they seducing? For those who need a high point thing, I point to the clever Sublimation Hour, the tender English Music, the jaundiced The Very Modern Dance, and the emotional gymnastics of The Crossover & The Bad Arts for clear examples of the best Streethawk has to offer. Make no mistake though, each song is wonderful and fully realized. My favorite singer/songwriter album next to John Vanderslice's Mass Occult Figurines & Elvis Costello's My Aim is True. Simply unique. One listening suggestion - give it a couple of spins to let it all set in. A solid collection.

I bought this album at a Destroyer show and I didn't know what to expect when I got it, I had only heard 3 songs by Bejar, "Jackie", "Breakin' the Law", the best 2 songs on The New Pornographers Mass Romantic Album, and "The Sublimation Hour" which I had downloaded from the Misra Records website. While the show suffered from poor sound (Message to Dan "Oh please have Destroyer open for the New Pornographers for the spring/summer 2003 tour") the songs were amazing, especially the first song "Strike" with the band coming into a frenzy that I was simply not prepared for, and the encore of "The Bad Arts", the best song I have seen live since being introduced to "Deeper into Movies" at The Fillmore in 1997. Since the purchase of this album I have become Destroyer's #1 Super Fan in San Francisco, almost everyone I have played this album for either buys it or begs for a copy, after which it does not leave their CD player, it really is that good. There is not a weak song on this album, there are classic lines, classic hooks, explosions, its all there. Play it loud, play it soft, just play it, best album in a decade.

This follow-up to Destroyer's 1999 masterpiece "Thief" is another essential slice of literary pop from the current-day's master purveyor of this form, Daniel Bejar. Mr. Bejar is Canadian and is probably better known to most indie-punters as a seemingly-reluctant (now ex) member of The New Pornographers. Sounding like a cross between Hunky Dory-era Bowie, a much less pompous Brett Anderson (Suede) and John Darnielle from the Mountain Goats, Daniel Bejar's voice is a sublimely confident and endearing instrument that perfectly complements his intensely clever lyrics and complex musical arrangements. "Streethawk", from what my tiny little mind can derive, is a savage critique on the music industry, or is it? One never really knows, coz' Bejar's intricate wordplay is so uniquely cryptic that one can never be sure! Musically, Bejar is ably supported by the current Destroyer line-up of John Collins, Scott Morgan, Stephen Wood and crucially Jason Zumpano (of Zumpano fame) on piano whose timeless playing gives this album extra gravitas. Stand-out moments include the should-be-hit "The Sublimation Hour", the beguiling album opener "Streethawk I" and the seven-minute gem "Bad Arts". Best Canadian album of 2001? Look no further.

Two literary references I'd make for this most-literary album: 1) Dan Bejar is the David Foster Wallace of rock and roll. and 2) this is probably as close as you'll ever come to hearing what it would sound like if Hamlet wrote an indie-rock album in place of his famous soliloquy. Whereas Bejar's role in the New Pornographers is a collaborative effort (though I must say an extremely good one) listening to this release made me realize that rock and roll by committee isn't as good rock and roll by individuals. This album has far more depth than most. It apparently is an attempt to chart its own and the band's own existence, a ballsy gamble that in this case pays off. (How many bands do you know that make reference to their own name in not one but two songs?) As I said, in less capable hands this would be a failure of Heaven's Gate proportions. But by golly, it works. If I were to describe this musically I'd give nods to Ziggy/Hunky-era Bowie, Mott the Hoople, possibly Robyn Hitchcock (though I like Bejar better), and maybe a smattering of Belle and Sebastian. But those are all jumping-off points. This album will take you farther in a certain (undefinable) direction than any of the artists listed above. Highlights of this album include 'The Sublimation Hour' and 'The Bad Arts.' The 30-second samples don't do them justice. I disagree strongly with the one star reviewer who calls this pretentious. It's an easy out. This isn't an album that you can digest on one (or maybe even 5) listen(s). If you're the type of person that prefers the challenging read (infinite jest, the recognitions, gravity's rainbow) to the easy one (oprah fluff, grisham, stephen king -- make your own popular-music equivalents), if you like albums that make you think while you rock, Streethawk: A Seduction is for you.

Intelligent rock with sort of a retro David Bowie-esque feel to it. Takes a couple jams to get into, but once in, this is top of the line stuff. Several excellent tracks here: sample #8 The Crossover or #4 The Sublimation Hour and I guarantee you will want to buy this CD. Best track is #2 The Bad Arts which features everything that is good about intelligent music.

I love everything about this album. If you're here and don't own it, you should!