CD reviews

Sunset Rubdown

Dragonslayer
(Jagjaguwar)
*7.9*
Goes well with: Wolf Parade, David Byrne, Modest Mouse

First, I’d like to take a moment to formally recognize the sheer awesomeness of anyone who names an album Dragonslayer. Hell, Barry Manilow could name his album that and I would probably listen to it. And even Barry would admire the work ethic of Spencer Krug, who, while best known for his work with Wolf Parade, has played in half a dozen different bands during the past few years and pretty much monopolized the indie-rock side-project scene.
You could call Sunset Rubdown Krug’s main side-gig, because it started out as his solo project, but that’d be selling it short. With three albums and countless EPs, this project seems like his main focus these days, and Dragonslayer might be the most accessible and enjoyable yet. It’s filled with loose melodies that complement Krug’s grandiose voice (a cross between David Byrne and latter-day Scott Walker). The only flaw—and it’s a small one—is that Krug has dumbed down the lyrics. While in the past the listener had to get a little analytical, songs like “Silver Moons” and “Black Swan” have lines that would make even Manilow sigh: “My heart is a kingdom / where the king is a heart / My heart is king / the king of hurts.” Ugh.

But Dragonslayer’s greatest strength is that Krug and company finally sound like a proper band and not a self-indulgent side project from one of the busiest guys in the game. The cast has revolved in the past, but let’s hope he keeps these cats around for awhile.

Eels

Hombre Lobo
(Vagrant)
*8.2*

Goes well with: Miles Benjamin Anthony Robinson, Micah P. Hinson, Mark Linkous

Congratulations, hirsute nation! Your dynamic leader is back. I know, I know, he’s been somewhat dicking with our emotions lately—not touring, writing an autobiography, working on a documentary for Nova and releasing yawners like live albums with strings and rarity comps. But, it’s true, E is officially back.

And I’m pleased to say it’s a welcome return. Now a lean, mean, three-piece with furry friends Koool G Murder and Knuckles in tow (I’m actually not sure if Knuckles has a beard, but if he doesn’t, E and Koool G could cut six inches each off theirs to donate to him and they’d still be able to double as a ZZ Top cover band) and the sound is as raw and catchy as ever.

Switching back and forth (strangely almost in succession) between fuzzed-out, barroom ramblers and starkly arranged, introspective pop ballads, Hombre Lobo is an enjoyable listen. It’s all quintessential E and no exploration of exciting new territories. If Lobo’s lo-fi energy and rainy-day sing-a-longs, plus E’s gravelly storytelling and occasional wild yawps can’t draw you in, it’s doubtful you even knew he was gone.

Mos Def

The Ecstatic
(Downtown Records)
*6.9*
Goes well with: Rakim, Butterfly, MF Doom

As Mos Def, Dante Smith has released only one record that was solid from start to finish—his 1999 debut, Black on Both Sides, which came on the heels of Black Star, his excellent 1998 full-length collaboration with Talib Kweli. But the two solo albums that followed—2004’s The New Danger and 2006’s True Magic—were enjoyable, yet uneven, both failing to replicate the dynamic power that Black on Both Sides possessed. Unfortunately, The Ecstatic follows in that same tradition.

Like Danger and Magic, The Ecstatic isn’t short on ideas. Mos has always pushed the envelope without ever having to cop a current trend, but this time he falters in execution. The excellent “No Hay Nada Mas” and cursory gems “Wahid” and “Priority” all clock in at under 1:45, each leaving listeners unsatisfied. Yet “Auditorium,” featuring recently pardoned attempted murderer Slick Rick, is the album’s longest track, and even at a reasonable 4:32, it could stand considerable editing.

I’d never believe Mos to be the kind to let other projects water down his music career, but after three straight records that haven’t quite lived up to expectations, maybe it’s time to reconsider.