It seems that the Sunset/Sunrise that is alluded to in the title of the Dutchess and the Duke's excellent new record is the beginning, but more significantly the end of relationships, and where that leaves us when we're faced with having to start over. The often heartbreaking songs found on the Seattle duo's second album frequently feature subjects who are either contemplating leaving their partner, have already left them, or are thinking about hunting someone down who jilted them in the past. But the characters are at least striving for something better, something a bit more real that where they currently find themselves, and that wisdom and ambition imbues these songs with an insight and sophistication that adds a bit of weight to these generally sparse acoustic numbers.Jesse Lortz and Kimberly Morrison's vocals are gorgeously intertwined on most of the songs, with their sullen harmonies amplifying the wistful mood of the music. And there are pleasant, subtle musical flourishes found throughout the record, with strings, organs, and muted drums all added to the mix splendidly by producer Greg Ashley (Gris Gris). But none of those additions ever threaten to overshadow the real stars of the show here, Lortz and Morrison's compelling vocal interplay, which is a delicate blend of Lortz's stony warble and Morrison's velvety croon. In the gorgeous opener 'Hand,' they sing a haunting duet during the chorus, elevating the poignant lyrics "Sometimes girl, I'm already gone, I've been ready so long" to a level even more exalted than if they were sung alone.There are some more lighthearted, playful numbers on Sunset/Sunrise, like the jaunty 'Let It Die,' the countrified bounce of 'Never Had A Chance,' and the 60's drive-in sound of 'I Don't Feel Anything,' but the lyrics found within those songs are truly disquieting, especially in 'Let It Die,' where the subject stands above his sleeping pregnant wife, contemplating the direction he wants his life to take in the future, and whether fatherhood truly suits him. And when you factor in the fact that Lortz's wife was pregnant during much of the time spent recording this album, the already chilling tune becomes a stark examination of the responsibilities of life and how we choose to handle them.'Living This Life' continues building on that theme, but never falls into the pitying, woe-is-me trap that many artists dealing with the same subject matter often fall in to. It's an honest examination of what can frequently worry our hearts in these modern times. The minimal production also helps (complete with an audible police siren in the background at the start of the track), because the song is strong enough to carry itself without any added embellishments. But when Morrison takes over lead vocals on the simmering title track, it builds to a dramatic, tense finish where the added drums and piano only serves to enhance the mood of the piece. Ashley has a steady hand throughout his understated production, and never forces too much into a song, instead believing that less is more, and the songs themselves end up doing most of the work. The tracks are consistently stunning throughout, with the lush, orchestral wails of a jilted lover on 'When You Leave My Arms' proving to be one of the highlights of the second half of the record, and the somber tones of 'The River' closing the album out strongly, with the plaintive, subtle piano only adding to the melancholy of the song.There is plenty of genuine, unconcealed emotion threaded within the songs on Sunset/Sunrise, and never once do they sound insincere or contrived, instead yielding one of the more courageous, honest albums released in 2009. This record is a candid examination of the darker and lighter sides of our souls, as well as our relationships, and suggests that even when things appear bleak and gloomy, there is always a sunrise to look forward to signaling the dawn of a new day.

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