Duncan Sheik: Phantom Moon

While it might make sense on paper, to call Duncan Sheik a "one-hit wonder" is totally off the mark. Yes, "Barely Breathing" was his only huge hit, but artists like Duncan aren't "supposed" to make hits to begin with. Sheik is working in a lost genre—the "sensitive male singer-songwriter" of the '60s and '70s—making him a wonderfully anachronistic blessing for nostalgic fans of Nick Drake and company.

Although the title might tempt one to pass off Phantom Moon as a simple tribute to Drake (the late Drake's final album, released in 1972, was titled Pink Moon), such a conclusion would not be entirely accurate; a better overall comparison would be David Sylvian's circa 1987 Secrets of the Beehive. The cinematic string arrangements, the deliciously superfluous woodwind flourishes, and the wistful tone of the album are highly reminiscent of Sylvian's moody, autumnal compositions. Sheik's songwriting, while strong as ever, continues to rely heavily on the moods evoked by longtime arranger Simon Hale's sensual violin arpeggios and melodic cello lines. The album intersperses fragile, often heart-wrenching vignettes with louder, more percussion-driven songs.

Fans of the latter may be misled by the two singles, "A Mirror in the Heart" and "Mr. Chess," which could very well seem out of place in the context of such a delicate, intimate song cycle.

It should be noted that while the music is very much in Sheik's typical style, the lyrics were not penned by him, but rather by playwright Steven Sater, who takes a significantly more intellectual and abstract approach to his songwriting. Sheik has done such an excellent job setting the words to music, however, that it is neither noticeable nor important that the words are not his own.

Phantom Moon is not an album one should listen to in the company of friends; it can be better appreciated in solitude, with ample time to reflect on the subtle beauty of the lyrics and Sheik's nuanced delivery. It's true that there's nothing here as catchy as "Barely Breathing," but that's missing the point; Sheik isn't trying to be catchy. In the tradition of his singer-songwriter forebears, he's trying to make art—and succeeding. (Nonesuch) —Chuck Colman

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