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CD Reviews
Death Vessel
Nothing Is Precious Enough For Us | Sub Pop
By
RICHARD BECK
|
August 19, 2008
DEATH VESSEL, NOTHING IS PRECIOUS ENOUGH FOR US
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3.5
Stars
Joel Thibodeau — singer, songwriter, guitar player — has trouble with slow songs. They box in his melodies and strangle his instrumental momentum. But that’s my only criticism of Death Vessel’s second LP, which is otherwise an astonishing forward leap for this Brooklyn-based folk group. Thibodeau’s melodies, which have always been pretty, are now beautiful. The best of these opens “Bruno’s Torso,” where a long, easy vocal line thinks itself along, deepening its harmonic and emotional resonance at every step. It helps that Thibodeau’s falsetto is sort of miraculous: a strange, delicate instrument that demonstrates strength and something like sick fragility in equal measure. There is an almost unbearable tenderness to “Block My Eye,” “Jitterakadie,” and the album closer, “Belt of Foam,” which includes, of all things, an exquisitely calm saxophone part. Sparkling beauty and mortal unease go hand in hand throughout.
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ARTICLES BY RICHARD BECK
PLUCK AND DETERMINATION
| March 09, 2010
People have always thought that Joanna Newsom was indulgent. At first, it was about her voice — the kind of nasal yelp that usually keeps a performer from getting on stage at all. Then, on her second album, it was about her vocabulary and her instrumentation.
SONG OF HERSELF
| August 05, 2009
"Listen, I will go on record saying I love Feist, I love Neko Case. I love that music. But that shit's easy listening for the twentysomethings. It fucking is. It's not hard to listen to any of that stuff."
DJ QUIK AND KURUPT | BLAQKOUT
| June 15, 2009
LA hip-hop has two threads, and DJ Quik pulls both of them. The first is g-funk, a production style that relies on deep, open grooves and an endless parade of funk samples.
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| May 26, 2009
Flipper formed in San Francisco in 1979, and they're remembered three decades later because of a song called "Sex Bomb" that's one of the funniest pieces of music I've ever heard.
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| May 26, 2009
There were not one but two clarinets on stage at the Somerville Theatre on Tuesday night, and that gives you some idea of how intricate Annie Clark's chamber-pop compositions can be.
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RICHARD BECK
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