Jeffrey Foucault is a fine singer/songwriter who’s been well taught by his influences, namely Springsteen circa Nebraska, Mellencamp performing “Jackie Brown,” and Guy Clark. The opening “Cross of Flowers” consists primarily of his roots-like vocals, an acoustic guitar, and a melody that you can instantly seek comfort in. This tune winds itself around the listener, although still maintaining a yearning to get out of a small town. “Mayfly” is an acoustic blues-boogie tune featuring Anita Suharin on backing and harmony vocals. Think of David Rawlings dominating a Gillian Welch song and you would get this sonic picture quite clearly. Foucault is also assisted by David Goodrich performing some great slide guitar. The folksy and mountain-esque “Doubletree” is another simple but quite pretty track that resembles tunesmiths such as Rod Picott and Greg Brown, while the haunting title track is a tad more uptempo, but even then it’s just above a dirge. The thread that seems to hold this album so tightly is how Foucault paints a vivid vignette with simple turns of phrases, especially on the lovely toe-tapping “The Bluest Blade,” a song that can’t truly be appreciated after just one listen. Perhaps the sleeper of the 12 songs is the rough and ragged “Pearl Handed Pistol,” which would have Kieran Kane and Kevin Welch green with envy. The same could be said for the lengthy “Northbound 35,” which again is dark but still beautiful. The lone average moment is the somber and sullen “Don’t Look for Me,” which is a bit run of the mill. However, Foucault redeems himself with a different take on Creedence Clearwater Revival’s “Lodi.” – Jason MacNeil