Blitzen Trapper at Webster HallAfter years of moving farther toward the outskirts of indie rockdom, a recent wave of bands have emerged, embracing and emulating classic rock in it's most unironic forms, without fear of acknowledging those heavy debts. Bands such as Midlake, Besnard Lakes and Dr. Dog are often only as good as their foremost influences and references, whether they be late '60s The Band, Fleetwood Mac or White Album-era Beatles. And while they risk being derivative, or being accused there of, they also tap into a vein of songwriting that offers a rich frame for innovation, if given the right personalities. Portland, Oregon sextet Blitzen Trapper, who played Webster Hall Wednesday night, are teetering on that precipice between wearing their influences and absorbing them. Blitzen Trapper boldly opened their set with their best known song, the murder-ballad with a touch of wheezy-synth single "Black River Killer." Although they have released five full length albums over the last decade, they played a generous 20 song set mostly plucked from their latest album, Destroyer of the Void, and 2008's Furr. On those newest albums, singer/songwriter Eric Earley moves the band toward '70s classic rock, from the Queen piano breaks in proggy "Destroyer of the Void" to the Lynyrd Skynyrd guitar breaks in "Dragon's Song," from the "Cold Turkey"-era Lennon of "Love and Hate," to early '70s Neil Young in "Not Your Lover." At their best, on tracks such as "Sleepytime in the Western World," "God and Suicide" and "Wild Mountain Nation" (you can see a video of the later below), they are playful with their influences, enlivening the tunes with a wacked-out sense of excitement and unexpected twists; at their least interesting, they move toward more "traditional" (re: unimaginative) arrangements that reveal lyrics that are lacking. Earley writes uniformly strong, McCartney-like melodies for his Jeff Tweedy-like vocals however, which helps even the weaker songs rise above the din. And sometimes the simpler songs work gorgeously, as on "Furr" and "The Tree," both heavily influenced by John Wesley Harding-era Dylan.