Receive Weekly Email and Text Message Updates:
Sign up for latest info on concerts, dining, promotions and more!
Go!

Most Popular

Reader's Picks

Top Recommendations

A short list of Dallas's most popular hot spots.
user content provided by: LikeMe.net & Dallas Observer

National Features >

  • Village Voice

    The Great Walls of Chinatown

    With the exception of the electric rice cookers, this Bowery tenement could have come straight from the Nineteenth Century.

    By Elizabeth Dwoskin

  • Houston Press

    Getting Off

    DUI attorney Tyler Flood wins 80 percent of his trials--even if his clients were 100 percent drunk.

    By Mike Giglio

  • Miami New Times

    Park or Die Tryin'

    From the homeless parking mafia to the meter fairy, finding a spot in Miami has taken a turn toward the surreal.

    By Gus Garcia-Roberts

  • City Pages

    The Baddest Men on the Planet

    Straight from the Sam's Club tire shop, Brett Rogers prepares to meet Fedor Emelianenko in mortal combat.

    By Bradley Campbell

Sunset Rubdown

Dragonslayer (Jagjaguwar)

Share

  • rss

By Ben Westhoff

Published on July 01, 2009 at 10:41am

Other than his insistence on giving his projects ridiculous monikers, Montreal singer-songwriter Spencer Krug can't seem to do much wrong in recent years. His main band, Wolf Parade, had one of 2008's strongest albums (At Mount Zoomer), and his primary side project, Sunset Rubdown, has put together a string of tremendously satisfying works.

That act's latest, Dragonslayer, is perhaps its best yet. A sprawling, whimsical journey into Krug's psyche, it features ruminations on relationships; emotional calls to arms; and angry, near-vicious screeds against his detractors (including himself). As the title of the album implies, Krug mostly maintains a confident, triumphant attitude throughout, with tracks such as "Idiot Heart" full of angry yet self-satisfied assertions ("Look at you go! You know your heart...but it's an idiot heart"). Musically, Dragonslayer maintains At Mount Zoomer's prog-rock tendencies, surrounding Krug's oft-experimental keyboard parts with a full-band sound, complete with guitar solos, feedback and male/ female harmonies.

At times, it feels like the group has bitten off more than it can chew, what with the extremely long songs and constant tempo changes. For the most part, though, the work is as fun to listen to as it is ambitious.