Gender-fluid rock musician Ezra Furman delivers one of the best albums that only a few people have heard with his self-described, ‘Queer Outlaw Saga,’ ‘Transangelic Exodus.’

“I’m in love with an angel, and a government is after us, and we have to leave home because angels are illegal, as is harboring angels.” Whoa! Totally ambitious, creative, conceptual albums can be hard to come by.  When one comes along, it’s usually incredibly special, as well as completely under the radar. Gender-fluid rock musician Ezra Furman, who has been around for years at this point, maintains something of cult-following. Self-described as a ‘Queer Outlaw Saga,’ Transangelic Exodus is probably one of the best albums of 2018 that only a few people have heard.  That’s unfortunate, considering its incredibly unique concept (transangelicism), as well as topics including spirituality, body transformation, and a number of issues affecting the LGBTQ community.

“Suck Blood from My Wound”

“I woke up bleeding in the crotch of a tree,” Furman sings on phenomenal opener and crowning achievement, “Suck the Blood from My Wound.” Furman sings with incredible grit, delivering his concept of transangelicism.

“Blood on my angel’s lips blends with his make-up

… Peeling off bandages to unfold his wings

The doctors said they’d have to stay on for another three weeks

Fuck it baby, let ‘em bruise, let ‘em break

But bleed, let ‘em bleed.”

While Furman has the concept of transangelicism in mind, more relatable is the theme of body transformation, a prevalent social issue generally, and specifically to the LGBTQ community. Several other songs (such as “From a Beach House”) also deal with surgery and body transformation, both related to the concept and ultimately, bigger picture.

“Compulsive Liar”

“I’ve got one fatal flaw: I’m a compulsive liar.” “Compulsive Liar” the sixth song off the album, serves as another standout.  On “Compulsive Liar,” Furman discusses about hiding and lying about his sexuality. Speaking about the act of lying and his feelings, he sings, “And I can trace the habit / To when I was eleven / And I thought boys were pretty / And I couldn’t tell no one.” He continues to impart his story, singing about that “all-protective closet”:

“It opens at a young age:

That all-protective closet

Just lock the door

And settle in among the raincoats

The longer you stay in there

The More you’ll get distorted

The more contorted all your lies will have to be.”

Deep. Obviously, Furman’s solution is to be honest and tell the truth: “Stand up and turn the doorknob.” Naturally, “Compulsive Liar” isn’t the only instance where sexuality is central the song. On “Maraschino-Red Dress $8.99 at Goodwill,” while purchasing the specific dress is fearful someone he knows will be there and judge him.  “I was looking over my shoulder / At the register trying not to be seen.” On the soulful, closing cut “I Lost My Innocence,” Furman states, “In a single incident I was changed.”  While Furman isn’t specific about the incident, clearly his interaction with ‘Vincent,’ whatever it specifically entailed, affected him.

“God Lifts Up the Lowly”

Spirituality is a prominent theme throughout the course of Transangelic Exodus.  Given numerous references to angels, that’s not totally surprising.  “My angel’s got eyes like a housing project / He was born inside a guitar.” On the expressive ballad “God Lifts Up the Lowly,” Furman paints pictures of the downtrodden, forgotten, and misfortunate, as evidenced by the aforementioned lyrical excerpt.  Ultimately, he provides some sense of encouragement, and Biblical for that matter, as he sings the titular lyric, “I know God lifts up the lowly.”

“She told us about Psalm 151 / And what comes after ‘Hallelujah.’” Another instance of spirituality comes on “Psalm 151,” a clear addition to the famous, 150-chapter book of the Old Testament.  Besides its ties to the spiritual, the penultimate number continues the transangelic narrative.

“Come Here Get Away from Me”

God also gets a mention on “Come Here Get Away from Me,” among the crowning achievements of Transangelic Exodus.  Perhaps Furman has more faith in his mercy on “God Lifts Up the Lowly,” but it wavers here.  “I believe in God / But I don’t believe we’re getting out of this one.” On this particular record, one of the biggest takeaways is how Furman highlights mental health issues and how his doctors aren’t truly helping: “Honey, I got a paradox and I can’t get free.” In addition to shedding light on mental health, the sound of this record contrasts everything else on Transangelic Exodus, and that’s saying something about an album filled with variation.

Final Thoughts

So much can be said about Transangelic Exodus, easily one of the most intriguing and underrated albums of 2018.  As highlighted above, the themes as well as Furman’s personal journey truly drives the album. Not previously mentioned, “Driving Down to L.A,” the second song on the album, seems to explore gender fluidity, living in someone’s body (identity issues), as well as sexuality. The production – the arrangements and orchestrations – is absolutely stunning.

The use of strings is brilliant, particularly the cello on “God Lifts Up the Lowly” and the driving, rhythmic strings on “Love You So Bad”. Sometimes, it’s merely the bombastic, noisy sounds and ideas incorporated in, such as portions of the brief but punchy “Peel My Orange Every Morning.” Rhythm defines the ‘no place to call home’ “No Place,” as well as follow-up, “The Great Unknown.” Again, Transangelic Exodus just might be the most brilliant album only a few people have heard in 2018.  That needs to change.

Gems: “Suck the Blood from My Wound,” “God Lifts Up the Lowly,” “No Place,”  “Compulsive Liar,” “Maraschino-Red Dress $8.99 at Goodwill” & “Come Here Get Away From Me”

Ezra Furman • Transangelic Exodus • Bella Union • Release: 2.9.17

Photo Credit: Bella Union