You know that unknown artist who randomly releases one catchy song only to fade back into the unknown a year or two later yet still releases albums every few years as if people actually care? This description is one that fits all too many artists, and in this case the artist in question is Duncan Sheik.
Famous for his hit song released a decade ago, “Barely Breathing,” Sheik is now back with his fifth album, “White Limousine.”
Sheik has operated under the mainstream radar for quite some time. With each successive album he experiments somewhat with the construction of his songs but retains a limited instrumentation and mellow sound throughout his works. The amount of detail and thought put into each of his songs is evident, but his experimentation is generally mild, and even boring. His sound is not interesting and innovative but more thoughtful and contemplative. The music doesn’t hook the listener; it merely invites the listener softly, almost humbly, to pay attention to it.
To his credit, Sheik has always seemed to care less about critical and commercial success and more about personal achievement. An embracer of Buddhism, he has initiated humanitarian projects around the globe and performed at numerous benefits for women’s issues, the homeless and hurricane relief.
Because “White Limousine” was finished before partnering with the record label, Sheik was able to avoid having to compromise his vision to appease the record company.
Originally meant to be a sparse minimalist singer-songwriter record, he eventually added four other musicians because he was afraid of releasing a mostly electronic record.
“White Limousine” initial CD pressings will come with two discs, one of which contains the actual album and the other a version of the album you can be mixed to the consumer’s liking. Remixing software can be downloaded, allowing fans to remix the songs in their own ways. Perhaps someone will create the minimalist record originally envisioned using this option.
Sheik’s thoughtful, contemplative style has earned him many fans; however, it is doubtful that “White Limousine” will entice any new ones. His failure to apply any sort of progressive technique alienates anyone who appreciates music as art, while his lack of hooks or any sort of upbeat flair won’t impress anyone who listens to music just to be entertained. His lack of regard for critical or commercial opinion is his greatest weakness. He seems to feel no burden nor desire to impress, so he does not.
Vocally, the album suffers from restraint in the same vain as the restrained instrumentation. While Sheik sounds like he actually means what he says, he could communicate in a more evocative way. In “Fantastic Toys and Corduroys,” the vocals are restrained when they could make the most impact, causing the otherwise good song to suffer.
The album’s lyrics are mostly about love while a few are political. The lyrics are of a relatively standard fare, and on closer inspection, they irritate rather than illuminate. His political message in “Star-field on Red Lines” is not just too little too late but is also filled with buzzwords instead of meaning. The rest is just as banal.
Overall, “White Limousine” ends up being a semi-decent album. But, in this oversaturated market, that simply isn’t enough.
Sheik will be performing at the Gypsy Tea Room tonight.
