There’s a fine linguistic line between “indefensible” and “indispensable,” and Stoo Odom likes to work that edge. On his first solo album, the nimble-fingered bassman unveils his considerable talents as a singer-songwriter accompanied solely by his upright bass and the occasional hissing Sleestak and obscure Japanese effects pedal.

Anchored by its not-quite-titular track “Indispensable,” a jazzy, jaunty little number that swings with clever Cole Porter-style wordplay (“you’re irreplaceable, you’re so embraceable”), Indefensible reveals a skewed and screwy sensibility that segues from drowning in an ocean of “Seaworthy” tears to celebrating “Raw Stinking Beauty.”

“I Ain’t In Love No More,” the ultimate kiss-off song, catalogues a litany of woes (“I live alone with my smartphone and a broken-ass computer”) before brashly insisting “I never never never never never never never never never never think about you.” It also invokes a recurring gastronomic motif, which reaches apotheosis in “Fish Sauce Blues.” That raspy spoken-word piece, delivered to beats drummed on the body of his bass, conflates trad blues tropes with Vietnamese food and includes this sly double entendre: “My baby up and left me, she don’t wanna pho me anymore.”

A fixture on the local scene since 2013, when he moved back to his childhood home of New Orleans after a long stint in San Francisco, Odom rocked out on electric bass with R. Scully’s Rough 7 and currently plucks his standup with Sleazeball Orchestra and other collaborators. Partly inspired by his work with avant-psych rockers from Acid Temple Mothers and the Boredoms in Japan, where he’ll be touring in March, Indefensible establishes Odom as a singular voice in an almost suis generis genre: standup bass songster.