William Elliott Whitmore has treated listeners to what America’s heartland is capable of putting out into the tenuous, ever-changing world of contemporary culture: consummate folk music. Hailing from Iowa and establishing himself locally as an enormously talented and extraordinarily kind person, Whitmore’s latest album, Animals in the Dark explores issues of politics, hope, love and pain.

One of the tracks , “Old Devils,” experiments with tempo as it weaves a diatribe of emotion against people in powerful positions. While critiques of George W. Bush can come off as common and unoriginal, Whitmore’s intuitive use of blues adds depth and weight to the spirit of his critique that is listenable and fresh.

“Lifetime Underground” features a hearty banjo and tinny accordion that fulfill a lot of what Whitmore is trying to accomplish — soulful folk music. It is clear here that his inspiration is his Midwest farm, and this theme of idyllic origins in Farmland, USA, never tires. Again and again, Whitmore is able to evoke a sincere concern for the beauty of land devoid of human complication, yet he can simultaneously write convincingly about man-made contrivances like government, which exhibits his acute latitude as a songwriter. Also evident in “Lifetime Underground” is an accordion part that never builds, leaving the listener in a unique, in-between place of expectations that is somehow never disappointing.

“Who Stole the Soul” is a solemn, Jeff Buckley-esque introspection complimented by a searching guitar part and mournful cello that combine for one of the most beautiful songs on the album.

“There’s Hope for You” is a similarly slow song that departs from Whitmore himself and engages the listener: “Listen to me now/ You will overcome /I promise you /And be whatever it is that you wanna be.” With insightful lyrics and the juxtaposition of major and minor chords, the overall effect of this song is gratifying. Ending the track with a darker distortion exhibits an exploratory nature of Whitmore’s compositions. The transition into “Hard Times” is indiscernible and smooth as he slides into crooning about his family’s roots. “My father was a railroad man/ A mechanic and a son of the soil/ His back was busted and his hands were cut and sore/But he swore that hard times, hard times made us.”

It is primarily Whitmore’s simple, yet powerful utility of convention that is never boring or over-dubbed that makes this album so necessary. Especially in times of a difficult economy, Whitmore’s tales of longing and genuine emotion are the perfect antithesis to the pop of dance music we indulge in: These honest tales guide us toward an indispensable balance of expression and relief.

Whitmore’s voice itself is what makes the entire experience completely exceptional. It is voice you have never heard. With a deep, dark quality that scratches and moans, his voice ranges over various tones and lyrics with grace and candor.

William Elliott Whitmore’s newest album, Animals in the Dark, is the perfect album for a diminishing cold winter season. From his gravelly, true vocals, to his lilting instrumental parts, this album is an important, vital addition to the folk music genre.

4 out of 5 stars.