Lucy Fitzgerald 
Spencer Krug returns with “Same Fangs”, a record that keeps things close and personal, almost like it was recorded in the corner of a room where ideas are still warming up. The songs move with a quiet confidence, built around piano, voice, and small shifts in sound that never overreach. “Get To Live” opens the record loosely, as if Krug is testing out lines while the tape is already running. Nothing here feels overworked, and that gives the track a very human edge. “Hasn’t It Always” keeps that same direction, sitting in a reflective space where the melodies drift without trying to force a conclusion.
“Timebomb” stands out early. The piano base slowly thickens, and the addition of Elbow Kiss on vocals brings a second angle to the track, adding tension without pushing it too far. It stays controlled, even when the emotion rises. “Real Long Headlock” moves into a more intimate zone, with Krug’s voice placed close to the surface of the mix. The sound design remains minimal, but the mood shifts subtly, keeping it engaging. “Berserker Mode” brings a bit more movement, with sharper rhythm work that still sits inside the album’s restrained approach.
The closing piece, “Listening to Music in Cars 2.5 (All the Tired Horses)”, stretches out in a way that feels unforced, letting the album end in a space that lingers rather than resolves. I like how the album doesn’t over-explain itself and lets silence do part of the work. I also like how each track feels like it was built from a real moment rather than a fixed idea. “Same Fangs” works best when played straight through, letting the small shifts add up over time. Keep an eye on Spencer Krug’s work if you already follow his writing, and make sure tracks like “Timebomb” and “Berserker Mode” stay in your rotation.
Listening to songs so you don’t have to! Just kidding :D, you totally should. Music blogger by day, nurse by night
