“Furr”
Blitzen Trapper, $13.99

On their new album, “Furr,” Blitzen Trapper invokes the gentler sounds of the ’70s to complete its modern Indie-alt-country-Americana vibe. The first track, “Sleepytime in the Western World,” showcases these sounds, from the brit-pop invasion (think Beatles) to the feel-good folk rock (the Byrds) to the revolution folk (Bob Dylan) and finally the space-agey glam (David Bowie), that can be heard on tunes throughout the record.

Of course, there is more. There were other moments where I made comparisons to Badfinger, Steppenwolf and Elton John. “Saturday Nite” can best be described as renaissance disco, an unplugged tribute to the Bee Gees. Though I would call it the song of the least substance on the album, it’s also one of my favorites. The record’s best track, “Black River Killer,” follows. With a theremin-ish riff bridging the verses and a catchy pattern of guitar plucks, this ballad definitely takes first place, even over the tunes composed on a rickety old piano that’s missing keys.

“War on Machines” enters into harder, more standard rock territory. “God & Suicide” sounds much more modern, like Collective Soul-modern. The title track, which I feel obligated to mention, is a coming-of-age tale set to Wild-West-settlers-around-the-campfire music. It’s even got animal sounds in the background. All the aforementioned tracks are what Blitzen Trapper has done exceptionally well.

When they try to go more straight country, as on “Stolen Shoes & a Rifle,” they lose a lot of luster, a lot of what makes them such an exciting contribution to contemporary music. It bores me. Good thing these mistakes are made so infrequently on the record. It hasn’t changed my opinion of them at all; the fact remains that the band has a lot to offer, both lyrically and musically.

Blitzen Trapper is performing at Chop Suey in Seattle Dec. 5. Tickets are $10 (plus applicable fees) through Ticketweb.