King Krule: Border Line Chord Progression Analysis

It seems like the song bounces between being in the key of Bm and Gm.
Bm7 (79777x) // Bbm7 (68666x) (think of it as a Db with a Bb in the bass)
[ Ebm7b5 (x6767x) // Dm7b5 (x5656x) ] // Gbm7 (24222x) // A7 (5756xx)
The Dm7b5 is almost like the Tristan chord from the composer Wagner's play of the same name. There is also a lot of chromatic voice leading that ties these seemingly distant chords together. I like to think of the Bbm7 functioning similar to Db7, which is the secondary dominant to Gbm7.
The whole thing is building progressive tension finally resolving to the Gbm7 chord. But how do we explain the Ebm7b5 chord? Well, m7b5s can be thought of as rootless dom9 chords. If we think of it this way, these chromatically descending m7b5 chords are acting like a classic tritone substitution. Think of them from their root as going Bb9 // A9.
At least A9 is in the key of Bm. Wow, that was convoluted. Not sure how much is true or just insanity. Why are you reading this?
Fun fact: to include the Tristan chord in your music, it's just using a m7b5 chord that's a m6 away from any minor chord. For example, Fm7b5 // Am

[@hyunjooon]

hey eric, was wondering if you could link chet baker sings tabs you compiled?

[@eric_james_music]

Hey, so I’m a teacher and have been pretty busy, but in July I’m gonna do a whole series on Chet baker sings