Death Vessel - 'Nothing Precious Enough For Us' (Sub Pop) Released 03/11/08

'Nothing Precious Enough For Us', is the sophomore release from neo-traditionalist Joel Thibodeau, aka Death Vessel, a follow up to his lauded 2005 release 'Stay Close'. Those who've never heard him will never have heard a male voice quite like it. Recall the fears of Aled Jones's passage into adolescence. Well, Thibodeau has a voice so high pitched and androgynous, it's like puberty gave him the wide berth. Nonetheless, it's a voice that is crystal in expression and works a dream with the quirky, oblique and cryptic songbook he has fashioned. 'Nothing Precious Enough For Us' appears a work from a different era altogether - songs in the key of Appalachian folk informed with a sepia tint - it's the kind of time-bending that Fleet Foxes have scored with, a footing in the contemporary map with references to generations gone by and a stoking of the Americana/bluegrass/folk fires.

Opener 'Block My Eye' talks of moth-eaten moons with rhythmic verse to an alt-country acoustic guitar - "...genuflecting with the middle-brow...that grapevine's been creeping all over my youth...", it's an oblique turn of phrase that Thibodeau utilises throughout and what gathers in attention is more the fleeting word than complete verses. The immediate 'Jitterakadie' uses steel guitar for an Appalachian nugget with a flash of underlying jitterbug, while 'Bruno's Torso' has snare drum flourishes and electric guitar sparking in a Fleet Foxes-like modernity, and 'Obadiah In Oblivion' fashions a cracking hokie toon seemingly about a rogue - "Obadiah was a cripple and a crook...", but what trifles these lyrics... 'The Widening' and 'Exploded View' form the albums finest moments in terms of arrangement and longevity, the former with a touch of the Weimar Republic from cornet and saloon bar piano reminding of the Brecht & Weillian Tom Waits, the latter a statuesque, riff and banjo-sprung melody with hobo harmonica, slashed with electric guitar and a curious song that may be addressing ending up in the electric chair.

'Fences Around Field' has scant enough song to hang a coat upon as a banjo meanders aimlessly, and whilst steel slide finds an entry the song lacks a proper earnestness. A weaker latter half is the gathering impression left by 'Peninsula' and 'Circa', where the song structure feels looser, less honed, despite the formers' proggish Neil Young/Crazy Horse pretensions wrapping up the cherry of a line - "...strike a match on my behind...", and the latters' wintry feel. 'Belt Of Foam', however, is a wonderful impressionistic piece with delicate piano subtlety, baritone sax, muted trumpet and some glockenspiel for good measure, and 'Taken Up Again' forms a totally contrasting track to all before as a tranquil, meditative keyboard mulls things over to a standing bass

Technically, metaphysically speaking, we are death vessels, but let's not get too down bum with it. As Jean Cocteau said - all that takes place in life is on an express train heading towards death. 'Nothing Precious Enough For Us' is more life-affirming than such talk, a more even-keeled affair than 'Stay Close', yet misses the whoopeedoo peaks of 'Mandan Dink' and 'Deep In The Horchata' that made the album such a distinctive release. Both albums are very much companion pieces, yet the confidence Thibodeau's voice shows here is evidently a result of all the solo performing he has engaged, with the likes of Jose Gonzales included. The lasting impression of 'Nothing Precious' remaining one of an album of two halves fronted by its' best side.