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He has a voice made of vintage leather, probably sprinkles tobacco on his cornflakes, cut his rock-incisors in the Screaming Trees and Queens of the Stone Age and is currently also one half of post-grunge supergroup The Gutter Twins. She has a voice like a mild summer breeze whistling through a meadow and once drizzled aural honey over Belle & Sebastian's twee indie-pop. It's like a marriage made from a Hell's Angel and waiflike virgin choirgirl--you can just imagine the disparaging looks from the vicar. But as Isobel Campbell and Mark Lanegan renew the vows originally made on a porch swing with 2006's well received bout of twilight Americana, Ballad of the Broken Seas
, this follow-up can be brandished as proof that opposites don't only attract, but can grow together even as they grow apart. See, on Sunday at Devil Dirt
Lanegan's weighty presence expands to a point where it obscures the moon--especially on "The Raven" and "Back Burner" where his Johnny Cash/Tom Waits croak reaches optimum levels of exaggeration--as Campbell flits further into the background, weaving between Morricone-esque, spaghetti western strings and sewing a beautiful ethereal quality into the seams. And such vocal juxtapositions make for intoxicating harmonies and stark, memorable impressions. But there is still also a real gentle magic to be found when they operate on an equal footing, as on "Trouble" or the sultry "Come on Over (Turn Me On)", the latter begging to be a James Bond theme. --James Berry