It set the benchmark very high and despite the departure of Maya Postepski after their debut, the feel-good electro-fuzz of Joyland made an admirable, if not better attempt at measuring up. Since its release in 2012, the original self-titled debut has since become a cult classic, with everything from the queer imagery of its front cover, to the sheer rapture of “Shoom” becoming ingrained into the consciousness of synth aficionados the world over. The combination of Robert Alfons dank nasal murmuring and the uplifting trance-like rush of his dense, melodic and dark synth-pop production stands out amongst the glut of his coldwave contemporaries as singularly distinctive and instantly recognisable. For all his seemingly hedonistic sensibilities there seems to be something of substance and depth aching to break through that veneer of seediness. While it’s undeniable that certain circles associate TR/ST with sweaty, drug-fuelled, sexually promiscuous dancefloors, there is also an undeniable allure to the formula that has a universal translation regardless of the targeted demographic. Following on from his first two highly acclaimed albums, Robert Alfons steps from a period of seclusion and contemplation deep in the Ontario countryside and channels a newfound clarity and emotional honesty in the first part of Destroyer.
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