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Moments of unexpected sweetness happen when romance enters, which always happens in songs - if just for a split second.

Dan Bejar

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Dan Bejar
Age: 52
Born: 1972
Born: October 4
Singer
Singer-Songwriter
Songwriter
Dominion of Canada
Daniel Bejar
Moments
Splits
Happens
Sweetness
Always
Unexpected
Romance
Songs
Second
Happen
Enters
Song
Split

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I've never had any kind of work ethic. I've never sat down with the intention of writing a song.
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There are too many Destroyer records to just start rattling them left them off, but they're there.
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I'm probably more into a more spacious, even meditative, quiet delivery of singing.
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I used to struggle a little bit with the idea of how to separate singing from acting and entertaining.
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I think the more removed I feel, the more I warm up to the role of singer.
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I don't really listen to rock music anymore. But were I to write a song that sounded like it could be a rock song, I'd probably give it to the Pornographers, and I'd be excited to try to make it work.
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I force myself to care about the music end by wrestling with it for years.
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I like playing music. I don't always like the feeling of people looking at me. I don't think I'm, like, a natural performer, but I'm getting better.
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I'm more focused as a singer and hands-on with music and more exacting, and less trying to furiously fit a thousands thoughts into a four minute song.
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Once you feel like you can safely quit a melody, you are free to explore more important things.
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I always start with the lyrics, because starting with the music means the words will be bad.
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When I go to a show, all I really want is to hear a performance that sounds legitimate, and not just going through the motions. I'm not sure any amount of jumping up and down really persuades me in either direction.
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I like putting common expressions next to uncommon expressions. I'm sure in Poetry 101 there is a name for it, but it seems like you usually go one way or the other in rock music.
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I can't fool myself into thinking that musically I don't need other people, whether it's as a foil or just to come in and make real the ideas that are kind of vague and wispy in my head.
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I'm not that conscious of my writing, so pacing the lyrics doesn't really enter the picture.
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It's actually really stereotypical that someone should be 40 and mellow out, but I think it's more about trying to conjure up a different intensity in my head, one where I'm more focused as a singer and hands-on with music and more exacting, and less trying to furiously fit a thousands thoughts into a four minute song.
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Kaputt was just a record that did really well for us, and therefore our record label and our booking agent said that we should go out and take our message to the world.
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I knew what real instruments I wanted and, in some cases, who I wanted to play them. I had started listening to a lot of ambient music and jazz and I wanted to incorporate stuff like that, too.
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I'm not really sure that I have the same definition of things as other people. Like, when people talk about being engaged with the audience, I'm not exactly sure what they mean.
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It never really interested me in the past but, for the first time, I wanted to make a pop record. I thought a good way of doing it would be to make songs that didn't really make sense to me as songs songs that I couldn't just sit down and play in front of someone and then get them to play over it.
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