His high tenor sounds like a cross between the voices of Loudon Wainwright III, Dan Fogelberg and especially Duncan Sheik. Much of the credit for the album must be shared with producer Kelley Dolan, who also sang and played keyboards and clarinet.
D'Alessio and Dolan create clever, clear-eyed arrangements from a wide variety of influences: gentle jazz, subtle Latin rhythms, pop standards, gentle folkie strumming. From the starkness of songs such as "Savor the Cold" and "Under Orion," to the urbane groove of "Love Is on the Way" (which sounds like the music of Steely Dan, sans the cynicism), it's a pleasing assortment of sounds. "Said Too Much" and "Year on Mars" are excellent examples of the sort of big-screen-scope pop songwriting that hasn't been in fashion for decades.
The album's highlight is "Blackout," a cutting rumination on how experiencing crises makes us more vulnerable and honest. It's an apt allegory for personal relationships, exploring how even in the aftermath of crisis, we are irrevocably changed.