Weaver's oddly instrumented folk-country features the sort of percussive, disjointed sound Tom Waits created for "swordfishtrombones," together with the sort of rough-hewn, unblinking first-person narratives that made Chris Knight's "A Pretty Good Guy" so powerful. Weaver's singing mixes a dash of old-soul (ala Jack Ingram's earlier records) with a rural rendition of Tom Wait's weary downtown rasp. The guitars often careen and stab and loom, rather than strum or pick, and the sparse accompaniment of bass and drum creates backings that are often soundscapes rather than instrumental arrangements. It's a powerful combination with Weaver's words, defining a world in which even a contented relationship defines a point in time that's closer to death than to birth, and the charitable ending of a day in the city is forever poisoned by the thief at the day's start. This is challenging, depressing and disturbing music, with downbeat subjects, complex wordings, and unusual instrumentation. Fans of Waits, Knight, Leonard Cohen, Nick Cave and the like will likely certainly enjoy this. 3-3/4 stars, if allowed fractional ratings.