Blitzen Trapper — Black River Killer EP

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I can’t tell, but I think that he’s shining a flashlight at the Furr album cover.

So yeah, I never shut up about this band. Friends like them okay or despise them, often citing frontman Eric Earley’s voice as a negative factor, but I have always had a sort of resonance with them. (No, not vice versa. It makes no sense to say a band resonates with you. The converse is, however, apt on a number of levels: You’re the thing being moved and they’re the thing doing the moving.) I’m reviewing them not to gush about a band I like, but to chart the rise and fall of what I regard to be one of the great alt bands of a generation.

So Furr is “peak Blitzen Trapper,” so to speak. The “Black River Killer” EP is a collection of songs that didn’t make the cut to become part of Furr as well as one song that did. I’m always tempted to lump the two together as one sort of musical moment, but to be honest, BRK EP has more in common with Blitzen Trapper’s other more fan-oriented releases, like the Waking Bullets EP or their singles. It’s songs that wouldn’t work in an album context, much like the tracks from the failed album that Waking Bullets supposedly represents or the singles that were never meant to be on an album. Still, it’s a good spin.

The title track opens the EP, but I don’t really feel like reviewing it again, since it was on Furr. I do note that, as per the interview in the liner notes of the Furr deluxe edition I just got, the character of the Black River Killer is supposed to be a little like the Shining: a supernatural force that possesses innocent (?) men and drives them to kill. I suppose I should have known that from the lyrics, and maybe I did, but maybe hearing it from the horse’s mouth changed it from a half-formed guess to a palpable fact. But Eric notes that the character of the killer is also inspired by the Judge in Cormac McCarthy’s “Blood Meridian.” I don’t really remember that book, but I’m not sure how that gels with the other thing. Then again, Eric might’ve been stoned when he said that, and was definitely trying to impress the celebrity interviewing him (Rainn Wilson of “The Office” fame.)

It’s a good song, with calm fingerpicked guitar underscoring a retro synth hook. I think I said last time that that’s a combination only Blitzen Trapper would think of, but then again, I suppose ELP’s “Lucky Man” prefigured it to some extent, way back at the beginning of the synthesizer era. 6/10, but only so low because it sticks out like a sore thumb here.

Next comes the hard-rocking, harmonica-driven “Silver Moon.” This, ladies and gentlemen, is one of the reasons you came, even if you didn’t know it. This is rock and roll in its primal, true form, at only one remove, one reflection, from the Platonic Ideal of Rock And/Or Roll. It has a driving, battering back-beat, all the classical rock instruments (drums, bass, guitar, harmonica, piano and vocals) and synthesizer besides, with lyrics about a young couple doing as they please and then having to run from the girl’s father, but told with the mystical reverence for romance and, frankly, sex, that has been a key component of rock and roll from nigh on its conception in the mid ’30’s in Mississippi. “Fresh from the flash of the threshing room floor” should sound awkward, risky, unfulfilling and itchy (I’m a country boy and remember those days of my life well), but it captures all of the glow of the thing and none of the rash. 9/10, because I don’t give 10’s except for the top tier of the top tier.

Remember, kids, condoms and don’t do it in the hay or you’ll regret it all day.

Next is a cryptic song,Going Down.” There’s a narrative but I can’t really understand it. There’s something about espionage (“Loose lips sinkin’ ships tonight,” which is exactly the kind of literate reference that makes Eric’s songwriting so impressive to me), and something about jumping out of a plane with a sabotaged chute, which would make an interesting story if it weren’t essentially an aborted song. I can’t tell if he even dies when he hits the ground. There’s just not enough to this song, unlike Blitzen Trapper’s great war song, “Fire and Fast Bullets.” Musically, it’s standard BT single fare, nothing that impressive. I almost like the line “this girl’s a cluster of ripe grapes,” but then again that’s actually kind of gross. What does that make me think of, though? Echad eshkowl enab…? Still, it’s incomplete work: 5/10, see me after class.

 

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Queen Mab, my Dear

“Shoulder Full of You” is “Twin Peaks” material (that’s “Stranger Things” material for the younger generation), and it’s also incredible. I don’t know what “I got a shoulder full of you” means, but I know what “they saw you flying down/from forest park/on a broken ten-speed bike” means. I recognize this type of character. It’s a love song to some kind of fey being, a being from a third realm outside creation, neither heaven nor hell but older and more natural than either, the sort of being that steals children and replaces them with changelings in the old stories–Björk’s species, in short.* Eric Earley steps into the role of Thomas Rhymer with enthusiasm, having his narrator sing of a deep love for this elvish woman that is touched with melancholy, “like a blacksmith’s sorrow.” There’s even something of the old legend in the way he sings “I’ll kiss you” like it’s a momentous decision–in the old legends, if you kiss the fairy queen you’re pretty much hers for life. That’s your life, not hers, by the way–a thousand years is a blink of the eye to the fair folk.

God, I love folklore. You see this story in the old Border ballads from central Britain, in at least one of the Lais of Marie de France, in Irish legends about Oisin… The Silver Chair… I actually did a paper on this stuff in college, back when I could smoke a Swisher in five minutes without throwing up, when the girls in the English program were easy if you spoke their language… when the autumn leaves were still a symbol of the fall of man…

Whoo… I’m still wrecked among heathen dreams, I guess.

I’d argue that the woman in this song is the same as the woman in “Lady on the Water” on Furr, the immortal lover who can bless or curse, and probably “Laughing Lover” on the next album, Destroyer.

Musically, it’s a pretty minimalist song, which is a new look for Blitzen Trapper. It’s pretty much just fingerpicked guitar, scattered piano and melodica. Normally, when they do a song like that, there’s some synth padding to it, like on Lady. The texture somehow puts me a little mindful of “Pink Moon,” which is never a bad thing. 8/10; I took a point off for tantalizing me with generals and not going into specifics.

“Preacher’s Sister’s Boy” is also pretty mystical. I actually wrote the current lyric sheet for this song on at least one of the major lyrics sites, and I don’t know what he’s saying on at least one line. We’re still in the world of folk-tales and myths here, and nor will we leave it on the rest of the EP.

I asked one of the wisest old fogeys I know what this damn song meant, and all he could say was isn’t ‘the preacher’s sister’s boy’ Jesus Christ?” I have no clue. Yes, in point of fact, Jesus’ mother was the sister-in-law of a priest, according to… Saint Luke, I think. Don’t hold me to it. But as to what’s actually going on in this song? I mean, yeah, the Christian angle works as well as any other theory, only that would make the girl in the song Simon Peter, who would not stay awake in the garden while Jesus prayed in at least one of the gospels, if I remember right. That kinda works, I guess: “Came out to find my best friend sleeping somewhere with the stars…” and  “Stay and pray with me, baby, till the archangel comes…” I note that Eric can’t pronounce “archangel” to save his life. But I went to high school in the late 80’s and early 90’s in Mississippi, and I grow weary of trying to find a christological reading for every single narrative. I’m looking at you, Ms. Meador.

It’s not at all clear cut. Only Eric Earley and God know what this song is about, and maybe only God.

Musically, it’s pretty good, with a cool synth riff and a rocking back-beat. 6/10: points deducted for not being able to say words right.

Certainly, no one knows what the deal is with “Black Rock.” It’s basically more of Shoulder. It has some good lines, like “Climbing black rock/Life like flintlock…” and minimalism sure looks good on this band. 7/10: too vague, but very beautiful.

The EP closer, “Big Black Bird,” flies in “Wild Mountain Nation” airspace. That’s the song, not the album. It has a riff with the same classic roots-rock quality, lyrics about belonging to a mystical tribe (“rambling clan gather on the strand/shaking their feet and stomping in the sand…”), and I think they’re even about the same length, but this doesn’t feel like a retread of the older song. For one thing, this one feels a little happier and less contemplative; I might even like it a little better. I wish, like every song on this EP except for the first, and like the EP as a whole, that it was longer. I’d play this song on air constantly if I DJ’d a college rock station.. (And for that matter, I happen to know through my wires that the instrumental track for this song predates the release of “Wild Mountain Nation.”) A side note: the song has a bridge that goes “round and round, round it goes/where it’s gonna stop, ain’t nobody knows.” While this is a cute reference to a very old gambling game some of us have lost large sums of money at, it became a very irritating line when the band decided to take it literally, when I saw them live in Atlanta. They must have repeated it a dozen times and stretched the song out to in the vicinity of six times its original length! Anyways, it’s a great song. 8/10.

And it’s a good EP, and at one time it was certainly my favorite Blitzen Trapper release; but then again, so was Destroyer… This is part of the last truly transcendent era in Blitzen Trapper’s long and sad history. It’s all downhill from here, I’m afraid.

High Point: Don’t make me choose
Low Point: “Coming Down.”
Whole EP average: 7.0/10
Bonus point for flirting with the real deep-water stuff, folklore and legends and things: 1.0
Penalty for being too damn short, even for an EP: -0.3
Final score: 7.7/10

 


* Lorde probably belongs to the fair folk as well. Doesn’t she live in a crumbling palace in dreamland and call the moon her brother and shit? And look how she dresses. She can steal my firstborn any time.
(No, not really, Jake, if you ever read this, kiddo.)
All images claimed under fair use, all content reviewed the properties of its respective owners, all views and opinions mine. Aliens are behind you, personally, right now.

 

 

 

 

 

 

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