This is not a new direction for Duncan, so if you are hoping to see a fit of artistic growth, well, go buy "29" by Ryan Adams. What you get here from Duncan is exactly what we have come to expect: lovely melodies, interesting and sometimes truly poetic lyrics, and --above all--craftsmanship in the production of his songs. For White Limousine, he kept some of the incisiveness of Humming, the intimacy of Phantom Moon, and even a bit of the commentary that bubbled under the surface (and sometimes boiled over) on Daylight. The strings and warmth that marked his first album have never been as lovely as they are here.
There is no standout song on this album, no obvious single, which I think is a strength. It seems that Duncan was focused on writing a collection of songs that worked well together. In this ambition, he has succeeded singularly. The structure of each song is perfectly supported by its arrangement, its production. There are a number of agreeable sonic surprises here, including some very nice effects on his voice and guitar.
Speaking of Duncan's voice, allow me to say that it has never sounded warmer. Time has done lovely things to his depth, his intonation, and even his power. The reedyness is still there when he pushes, but now he uses it instead of being trapped by it. The gentle lower ranges of his voice have become truly beautiful.
If you have enjoyed Duncan's past albums, this is one that will seem, almost instantly, as if you have heard it before. And that is perhaps one of the highest complement that you can give to an artist that has never been strikingly original, but who is always deeply consistent, highly thoughtful, and above all, capable of producing genuinely effective music listenable over the long term. Definitely recommended.
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