Copycat Killer [EP]

Bridgers’ songs are so devastating because she plays both hero and villain, creating a Möbius strip of virtues (like selflessness) that twist into flaws (like savior complexes). Rarely is there a feeling of catharsis or righteousness, especially on Copycat Killer, where the paralyzing angst and introspection feels so stark. Yet the EP ends on a quietly hopeful note.

“Kyoto” is one of the more effective here; stripped of the insistent indie-rock embellishments which made it a single, the rawness of Bridgers’ lyrics is exposed. ... Elsewhere, some versions are less illuminating. ... These songs are still some of the most charming and psychologically nuanced in indie rock’s recent memory.

Moose’s accompaniment soars, and subsidies, ensuring that this release doesn’t feel like a mere afterthought late in the release calendar. At a slight 12 minutes, it’s a brief coda to a strange year for the artist, but one fans will no doubt lap up.

Their order within the EP works together to create a new mood, and the listener easily comprehends why Copycat Killer is worth attention after having experienced Punisher. These new versions are not worlds apart from the originals, but the value is in the very small things such as subtle melody changes and different track ordering – working beautifully with Moose’s orchestral talents.