Blitzen Trapper: American Goldwing

Portland alt-countryish rockers Blitzen Trapper take to the road with an accomplished sixth album steeped in a bygone America.

Blitzen Trapper

American Goldwing

Label: Sub Pop
US Release Date: 2011-09-13
UK Release Date: 2011-09-13
Artist website

Last year, some speculated that the sixth album by Portland's Blitzen Trapper might see the band enter some kind of cosmic-progressive phase. The logic, such as it was, went that their Queen-inspired miniature rock opera "Destroyer of the Void" was indicative of the group's future plans, where the last album's other songs were not. However, borrowing from a host of '70s influences is just what Blitzen Trapper does. Had they chosen another song from the last album, critics might just as well have predicted the band would become full-time Laurel Canyon folkies, don leather for hard rock, or disband altogether allowing frontman Eric Earley to transform permanently into Bob Dylan. Thankfully, none of those things happened. On American Goldwing Blitzen Trapper remains true to itself -- still inspired by its heroes, still fusing old sounds with new, and still compelling.

A fat slice of the credit for all this is due to Earley, the man Robin Pecknold of Fleet Foxes once memorably called "a supergenius". He had a point -- it takes real songwriting smarts to have a little magic from CSNY or Dylan rub off on a song without it becoming too reverential. With these new tunes, Earley more easily walks that line by reining in his influences to a certain extent. Having gotten an epic like "Destroyer of the Void" out of its collective system, Blitzen Trapper is able to focus more closely on American roots music this time around. Indeed, American Goldwing is framed within a warm nostalgia for a kind of imagined, bygone America.

This is a place the band has been to before, of course. They have at least edged around it in the folk narrative of a song like "The Tailor", but here they leap in completely. From its title to its instrumentation, this is an album steeped in the hazy atmosphere of the road, one littered with rusted pickup trucks, discarded Schlitz cans, and broken hearts. This is a very specific kind of Americana, explored using both lilting country balladry as well as ragged, stomping rock. While the group's experiments with different song styles don't always come off -- experimenting is like that -- the stronger songs here can stand alongside Blitzen Trapper's finest work to date.

While "Taking It Easy Too Long" is a disappointment -- a mournful country tale too arch and familiar to work -- something like "Love the Way You Walk Away" is much more representative of the quality here. Not unwisely given away as a free teaser MP3, it builds woozy guitar and harmonica around Earley's story of inattentive love and is perhaps the best achievement of this record's softer side. Elsewhere, "Street Fighting Sun" is one of the most irresistible rockers Trapper has yet recorded; as drums beat an uncommonly raucous vocal out of Earley, someone brandishes about a great dirty guitar riff and makes like he means to use it. As far as best moments go, a guitar break which briefly brings to mind Black Sabbath's Tony Iommi wrestles with Earley's squealed realisation that "the sun, it ain't so easy to kill."

If there's a point at which the record's country and rock sides merge most cleanly -- and so provides a useful litmus test for new listeners -- it has to be opener "Might Find It Cheap". While an electric guitar workout for much of its length, the track has dueling acoustics under its surface, and makes a feature of a broken-down mid-section which threatens to break out into a full-blown hoedown at any moment. At the album's other end, "Stranger in a Strange Land" strips the sound back to vocals, acoustic, piano, and occasional harmonica as Earley brings back the uniting notion of the road, here depicted as "the highway / Which runs far but never my way / Don't you know."

As full as it is with the debris of a scattered America-that-was, this record is so much more than a compendium of Old West or dustbowl clichés set to music. At its core, ultimately, is a set of accomplished and delicately crafted songs. Blitzen Trapper still have a way to travel yet, but American Goldwing is a more than a homely waypoint on the road and reason enough to wonder where the band's imagination -- and yes, its influences – will take the group next.


In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Keep reading... Show less

Pauline Black may be called the Queen of Ska by some, but she insists she's not the only one, as Two-Tone legends the Selecter celebrate another stellar album in a career full of them.

Being commonly hailed as the "Queen" of a genre of music is no mean feat, but for Pauline Black, singer/songwriter of Two-Tone legends the Selecter and universally recognised "Queen of Ska", it is something she seems to take in her stride. "People can call you whatever they like," she tells PopMatters, "so I suppose it's better that they call you something really good!"

Keep reading... Show less

Morrison's prose is so engaging and welcoming that it's easy to miss the irreconcilable ambiguities that are set forth in her prose as ineluctable convictions.

It's a common enough gambit in science fiction. Humans come across a race of aliens that appear to be entirely alike and yet one group of said aliens subordinates the other, visiting violence upon their persons, denigrating them openly and without social or legal consequence, humiliating them at every turn. The humans inquire why certain of the aliens are subjected to such degradation when there are no discernible differences among the entire race of aliens, at least from the human point of view. The aliens then explain that the subordinated group all share some minor trait (say the left nostril is oh-so-slightly larger than the right while the "superior" group all have slightly enlarged right nostrils)—something thatm from the human vantage pointm is utterly ridiculous. This minor difference not only explains but, for the alien understanding, justifies the inequitable treatment, even the enslavement of the subordinate group. And there you have the quandary of Otherness in a nutshell.

Keep reading... Show less

A 1996 classic, Shawn Colvin's album of mature pop is also one of best break-up albums, comparable lyrically and musically to Joni Mitchell's Hejira and Bob Dylan's Blood on the Tracks.

When pop-folksinger Shawn Colvin released A Few Small Repairs in 1996, the music world was ripe for an album of sharp, catchy songs by a female singer-songwriter. Lilith Fair, the tour for women in the music, would gross $16 million in 1997. Colvin would be a main stage artist in all three years of the tour, playing alongside Liz Phair, Suzanne Vega, Sheryl Crow, Sarah McLachlan, Meshell Ndegeocello, Joan Osborne, Lisa Loeb, Erykah Badu, and many others. Strong female artists were not only making great music (when were they not?) but also having bold success. Alanis Morissette's Jagged Little Pill preceded Colvin's fourth recording by just 16 months.

Keep reading... Show less

Frank Miller locates our tragedy and warps it into his own brutal beauty.

In terms of continuity, the so-called promotion of this entry as Miller's “third" in the series is deceptively cryptic. Miller's mid-'80s limited series The Dark Knight Returns (or DKR) is a “Top 5 All-Time" graphic novel, if not easily “Top 3". His intertextual and metatextual themes resonated then as they do now, a reason this source material was “go to" for Christopher Nolan when he resurrected the franchise for Warner Bros. in the mid-00s. The sheer iconicity of DKR posits a seminal work in the artist's canon, which shares company with the likes of Sin City, 300, and an influential run on Daredevil, to name a few.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 All rights reserved.
Popmatters is wholly independently owned and operated.