I know I promised a Sundance update, but I’ve got to talk about this before I explode.

Ready?

Okay:
Ohmigod! I LOVE White Limousine!!!
</schoolgirl>

Alright, let me compose myself and try to explain in an adult, articulate way.

First, know that I am biased. I do my best to be objective about Duncan Sheik, but even at my most cynical, White Limousine seems brilliant. It’s a return to the lush, introspective, alt-folk-pop of his debut, but with some of the newer musical elements of his later work - the best of all worlds.

I bought the new CD yesterday morning the instant it was released; I was at the store before they opened. I was so excited, the punks that work there (the ones with pink hair and 52 piercings) think I’m weird.

“Duncan Sheik?” the tattooed guy behind the counter said when I put it on the counter. “I didn’t even know they were still around. This any good?”
“It’s exquisite,” I said. “Lush orchestration. Haunting, silvery vocals. Brilliant, thought-provoking lyrics. And some nice great grooves, too.”

Tattoo guy stared at me.

“And it’s ‘he,’” I continued. “Not ‘they.’ Just Duncan–Oh! And I almost forgot - the CD includes a DVD that allows you access to software and studio tracks where you can remix the songs in any genre or style you want. Pretty innovative, and very bold and unterritorial of Duncan, I say.”

“Oh. Right. Okay. Cool. Have a good day,” he said as he handed me my change.

Yeah. I’m a dork.

Anyway, the critical rundown is polarized, a real love-it-or-hate-it affair. At least there are far fewer negatives than positives. In brief:

All Music Guide gives it four stars and says, “White Limousine is a remarkable record; … it’s utterly seductive.” AMG also says, “This is the terrain Rufus Wainwright wishes he could master.” Ouch! Though not entirely untrue…

People gives it 3.5 stars and says, “…rich melodic pop that is at once literate and lovely…”

Billboard says “He is an artist who has followed the muse, not the money - much to the benefit of himself and his fans.”

And Salt Lake City Weekly doesn’t really review the album, but interviews Duncan for his upcoming Suede show in Park City. (One week, baby!!)

On the other hand, Entertainment Weekly gives it a C+, calling it “airy, overly fussy pop.” And Jessica Grose of Spin seems a lot more concerned with gender roles and masculinity than music, saying, “Poor Duncan Sheik. It must be hard to be neutered,” and then later referring to his “lack of sack.”

I’m still waiting for a Metacritic score so I can see what newspapers across the country say. Also waiting on Rolling Stone; they raved about Duncan’s debut, and this is the natural progression of that album.

As you already know - as you probably knew before I began typing, even - I love this album. Love love love love LOVE this album. (Got that?) It incorporates the best of all his previous albums and then some. That’s not to say it’s better than any of them - because it’s not - but it’s more than worthy of inclusion in the catalog. All his previous works have been pretty different, some more pop, some very acoustic folk. This has elements of them all, without sounding disjointed, just extended. Some of what I loved about Duncan Sheik is here. Some of what I loved about Humming is here. Some of what I loved about Daylight is here. So there’s nothing extremely Phantom Moon on White Limousine. Okay, I can handle that. PM doesn’t fit with the others anyway; I love it for entirely different reasons.

Overall, White Limousine is more like Duncan Sheik than the others, and that’s fine by me. The debut is the reason I fell in love in the first place.

Like Duncan Sheik, much of White Limousine is best heard in quiet solitude. Headphones are a plus because there are so many intricate, quiet layers to catch. The more upbeat songs have a comfortable groove, a modern urban soundtrack for people who need melody as much as a beat. On slow songs, Duncan’s voice, like always, is well-suited for lonely, rainy days. Not necessarly depressing, mind you, just… peaceful, and naturally intimate and comfortable. Great daydreaming music or impetus for introspection. The London Session Orchestra, arranged by Simon Hale, makes a big impact on half the tracks, just as they did on Duncan Sheik.

Though I’ve only had the CD for 36 hours, in that time it hasn’t left whatever player I’ve been near. At night, in the car, reading, online, it’s always playing. My opinions may change as I get more familiar with the tracks and I go back and listen to older stuff again. But for now, here’s my initial track rundown, and some specific comparisons to past Duncan work:

1. Hey Casanova - a little piano, a lot of soaring, aching vocals, some simple percussion, and a little falsetto make a really great, angsty opening track. Love it.
2. The Dawn’s Request - Wow. The London Session Orchestra kills me here. Really reminds me of “The End of Outside” from Duncan Sheik or “Everyone, Everywhere” (a favorite from Humming), which is a very, very good thing. Definitely one of my WL favorites.
3. White Limousine - It’s “Bite Your Tongue” (from Humming) for the Bush years. Kinda angry, very catchy. Somewhat of a bassline repeat of Daylight’s “On a High.” But how can I not love a song with blatant anti-Dubya references?
4. I Don’t Believe in Ghosts - Reminiscent of Phantom Moon. Very quiet and pretty; palpable longing. Duncan really knows how to set a mood. Prime example of his lonely, introspective songwriting.
5. Nothing Fades - Probably my favorite so far. Has a rhythmic phrasing unlike anything else Duncan’s done that gives it a great little groove. And there’s an edgy quality to the electric guitar that kind of reminds me of “Start Again” (Daylight).
6. Fantastic Toys and Corduroys - Immediately reminded me of Duncan Sheik’s “Days Go By,” but after more listens I’m not sure that’s accurate. It reminds me of something else he’s done, too (hmmm… maybe everything?), something that I just can’t place. Lush strings, light piano, a little falsetto (improved, I think - and it was good before). Been there, done that… but I love it.
7. Shopping - Self-referential, and kind of clever, biting lyrics. Has an interesting sound, different for Duncan. Something about it says “Magazines” (from Daylight), but with a harder sound. Good, catchy listen.
8. Star-field on Red Lines - Lyrically, one of the most interesting tracks (”Strong armed Christians oiled up and fed…”), and musically it reminds me of “November” from DS, but with less falsetto. Duncan explains some of the imagery on his blog. The music is simple and peaceful, with some nice orchestral/piano touches. And he sounds so damn sexy near the end, when he says “Head down, brace yourselves, here it comes.” And I don’t mean that the way you pervs are thinking. I mean just his voice!
9. I Wouldn’t Mind - Happy and in love; that’s what this says to me. At least as much as Duncan can be. Melancholy is definitely more his natural style, which I prefer. Who wants happy? Happy is so easy. Happy is boring. I want pain and suffering! I want some emotional depth! That said, this track is beautiful - even gorgeous aching cellos sound happy here. A less-sweet “For You” (Daylight) (which, I grudgingly admit, I love).
10. Land - Sounds like it’s the love-child of a Duncan Sheik track and Daylight’s “Memento” (my least favorite Duncan track ever). It’s the damn bossa nova thing. Despite that, not all bad. Just not up to par and not for me.
11. So Gone - The Sheik trademarked sad, quiet love song. The one you cried to in high school. Or yesterday. Like an older sibling of “Little Hands” (Duncan Sheik). Another nice orchestral arrangement too, of course.
12. Hymn - Some of my favorite lyrics. (”All the storms and oceans, all the sheltering sky, all this earth and she and I. Wait until it happens; wait, the moment will come; wait, but all those are already one.”) Though Duncan does his own background vocals on a handful of tracks, they’re most noticeable here, and they’re really great. The orchetra and organ together create both a sense of urgency in capturing, and of leisurely enjoying, the moment before it’s gone. The Orchestra has a beautiful final coda, too.

So there ya go. Top 3 are currently “Hey Casanova,” “The Dawn’s Request,” and “Nothing Fades.” Now go out and buy it! And don’t bother with shitty iTunes. As much as I love my Zen Xtra, this MP3 revolution is ruining half the fun of CDs. You want the pretty, minimalist packaging and liner notes. And, of course, the remixing DVD.

Oh, and though I’m really not a fan of the facial hair he’s sporting in all the WL promo stuff (he’s so damn cute clean shaven!), he’s still as fucking sexy as ever. He’ll always be number one on my hottie list. Here’s a little gallery of hotness for you (in chronological order):