After purging the
experimental
,
Nick Drake
-influenced
Phantom Moon
from his system, on his fourth release it's back to business for
singer/songwriter
Duncan Sheik
. But some remnants of
-- winding song structures, romanticized lyrics, and lush orchestrations -- reappear here, albeit in a more
pop
format. Producer
Patrick Leonard
, like
Rupert Hine
, who worked on his popular debut, frames
Sheik
's haunting, breathy voice with elaborate arrangements. That makes these ornate songs huskier, but it also interferes with the singer's plaintive style. Borrowing tricks from
John Mayer
, whose success can partially be attributed to doors
himself opened, the
ballad
-heavy disc emphasizes the singer's introspective side. Straightforward strum
tunes like the leadoff track,
"Genius,"
and
"On a High"
(the first single) neatly frame the passionate, string-laden
ballads
that dominate the proceedings.
's ability to weave word-heavy tracks into melodies that withstand their weight exhibits his songwriting talent. On the downside, the intricate production and multiple overdubs create a chilly, anonymous backing at odds with his sumptuous voice and meticulous lyrics. But the songs are so consistently strong and the singer so obviously committed, most of the album's shortcomings are insignificant. If the participants hadn't tried so hard, this would be a minor masterpiece. As it is,
Daylight
is an ambitious and generally successful
effort, especially for those who already have bought into
's lovelorn persona. Its flaws won't dissuade the faithful, but they will prevent the album from being as successful as the artist had intended. ~ Hal Horowitz