Daniel Bejar has been making oblique, urbane pop symphonies as Destroyer for 13 albums and nearly three decades now, but Labyrinthitis is among his best. It pulses with dance rhythms, bristles with literate asides, unspools a hypnotic stream of film-like imagery, hazards a long, rap-inspired spoken word interval, and, once or twice, rocks unabashedly. It’s the kind of album, you can get lost in—or perhaps a little dizzy from. You don’t know quite what’s happening from moment to moment, but there’s a swirl and a sweep and an urgency to it that propels . . .
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