Sound It Out Records

Best. Title. Ever.

Before you notice I have no idea what I’m talking about, let me tell you this: as much a record as a ride, Dragonslayer is a humble epic. That I have totally failed to find the right words to describe it should be beside the point: Spencer Krug – also of Wolf Parade and Handsome Furs fame – has crafted the most imaginative set of songs I’ve heard in a long time (possibly my own fault) and given them the best album title, err… ever?

Dragonslayer‘s tracks make little sense on their own, or out or order. In this sequence, however, they make up a remarkably moving piece around a central metaphor (or so I perceive): an artist who sets out to “tell the kids” what the fuck is up by showing them the “ancient ways” of rock n’ roll. That said, the story is never clear, leaving you guessing what Icarus, dragon slayers, Nashville and eating butterflies all have to do with each other.

These carefully structured songs, often presented without (or with several) obvious choruses, are pestered with so many climaxes you’ll… nevermind, I’m not going there. Let’s just say that, three listens into this, you may still be wondering where these really badass parts are coming from. Spencer, what the fuck IS up?

This is definitely not Songwriting 101 territory. If you get over the titles and actually listen to “Apollo and the Buffalo and Anna Anna Anna Oh!” or  “You Go On Ahead (Trumpet Trumpet II),” you may wonder what kind of lucky maniac would construct such bizarre yet beautiful tunes and have the right people to play them along with (think ridiculously creative guitar work at. the. right. time.). I thought last year’s Wolf Parade album was great, but this is the kind of “taking it to the next level” that would make Charles Barkley proud.

But really, this review isn’t going to make any sense unless you listen to this album a few times. All I can do is ask that you do so because, all along its twisted ways (but specially toward the end), Dragonslayer rocks. This music is progressive but not “prog”, a feeling perhaps enhanced by a production that is simple, straightforward, and not the least bit flashy. The guitar – one of the single best aspects of this album – works not in front of, but side-by-side with Sunset Rubdown’s keyboards’ ensemble. The latter is not to shabby either; the main keyboard section of “Nightingale/December Song” is painfully pretty, in an early-1900s kind of way. And, to be truthful, Krug’s vocals are rather dramatic, to the point that some listeners may not be able to take seriously. That will be a shame, because in this context they work wonders in enhancing the overall epic feel of the album.
It really comes down to this: the feeling you get when you listen to the goddamn-awesome end of “Dragon’s Lair”, the album’s closing track, will prove that Dragonslayer is worthy of both your time and a fuckin’ repeat. If you make it through the whole thing and that doesn’t hit you, it’s because you are clearly not a champion.

LISTEN TO THIS IF YOU LIKE: Wolf Parade, The Decemberists, the idea of Arcade Fire playing Tool songs.