Published on Nov 4, 2004
You know what? I really hate that I missed this CD when it came
out. See, I like Duncan Sheik; I have since his incredible debut
single, “Barely Breathing,” in 1996. However, I admit to having
lost track of him when he released 2001’s
Phantom Moon with its stripped-down arrangements and heavy
Nick Drake influence. It seemed that Sheik would forever be a bit
too quiet for my tastes — which I considered a shame, since he
wrote damn fine pop songs.
Fast forward to 2004. I’m hanging out in my local used record
shop and I see Sheik’s 2002 release,
Daylight, in the resale racks. What the heck; I’ll grab it.
(It was a good day that day; I also got Ashley MacIsaac’s 2003
Decca debut; that’ll show up here at some point.) It turned out to
be a good move;
Daylight is one of the tightest and clearest recordings of
intelligent pop music I’ve had the privilege to listen to in a long
time.
The producer on
Daylight, Patrick Leonard, is probably best known for his
work with Madonna and Elton John. However, if you’re expecting
mainstream on this CD, please also remember that Leonard was one
half of the great progressive pop duo Toy Matinee, whose single
1990 CD is one of my favorites. As such, the sound on
Daylight is a little richer and lusher than past Sheik
efforts, but never cloying; you can still, above all else, hear the
songs and the lyrics, and that’s what really matters.
Sheik’s voice, alternately ironic, expressive, and pensive, is a
magnificent instrument. Understated in its skill, he makes the O.
Henry-like twists on songs like “Genius” cut deep. Add in more
hooks than a bass tournament, and you have one fine CD. Tracks
worth noticing include the single “On A High,” with its Beatlesque
wordplay; the elegant “Such Reveries”; and the bitter, biting “Good
Morning!” Special praise, though, has to be saved for the
heartbreakingingly lovely and devastatingly heartfelt “Half-Life.”
This may be the greatest song Sheik has ever written, and he spares
no effort and pulls no punches in slamming it home. The only weak
point on the album, “Magazines,” is merely a less talented
replowing of the field J. Geils tore up in “Centerfold,” but that’s
what CD programming is for, right?
Daylight is an excellent piece of guitar pop, intelligent
enough to be worthwhile, but musical enough to be enjoyable. Check
it out.