If Dan Bejar promises us a boogie, you can expect a lot – just not what the Boogie word stands for. And so Dan’s Boogie has no anything to do with the piano style according to the blues scheme you know as a boogie-woogie, nor with swing and dance music. One to one, that would be for the Canadian, who has broken since his breakthrough album alongside disco (labyrinthitis) and New Wave à la New Order (Ken), above all, all soft and sophisticated pop teachings between Bowie and Ferry converted into his opulent destroyer universe full of wind players, strings and synths, then too cheap.
For him, the boogie is rather something that makes him think of “spy work and double agents”, “a deception maneuver, a fraud that does not quite work”, as he tells in the press text. This is adequately cryptically formulated for this master of textual intangibility – and possibly again a deception.
In any case, it is certain that Bejar continues his artistic run here. With songs such as the dubbig felled Eighties number “Bologna”, for which he is a guest singer for the first time with Simone Schmidt Aka Fiver; with a delicate and airy, circular harp epic such as “Cataract Time”, which is transported to the saxophone to the most exquisite spheres; Or with the powerful psychedelic crusher “Sun Meet Snow”, which then provides this diverse album with fragments of something that can be described as a boogie (-Woogie) with a clear conscience.
You can find out which albums were published in March 2025 via our monthly publication list.