ShareThis"WHISPER HOUSE," Duncan Sheik (Victor/Sony)
The foundation of Duncan Sheik's "Whisper House" may be built on theater, but it sounds decidedly untheatrical.
Sheik, who made a successful move from pop artist to Tony Award-winning theater composer in 2006, a decade after the seminal success of his hit "Barely Breathing," releases "Whisper House" in advance of the April premiere of its corresponding theatrical piece at the Delaware Theatre Company. But presented in Sheik's trademark chamber-pop style, the melodramatic World-War-II-era tale of ghosts at a Maine lighthouse goes light on the histrionics.
"Whisper House" stands alone as a textured adult-pop release with its pastel-shaded tones of gentle rhythms, muted horns and soft vocals by Sheik and Holly Brook, who has a strong supporting role.
Apart from the abrasive rush of electricity that rips through "I Don't Believe in You," the tracks are framed in soft instrumentation for such observations as, "Too much trust is the road to hell" on "The Tale of Solomon Snell" and, "Don't look now, the world is ending" on "Oh You've Really Gone and Done It Now." The vocals and music are subtly woven together in inviting, if grim, layers.
Yet beautiful as "Whisper House" generally is, the release isn't especially inspiring. Credit Sheik for setting the mood and avoiding lyrical cliches, but many listeners may find an emotional connection as elusive as ghosts.
Rating (five possible): 3
"JOHNNY CASH REMIXED," various acts (Compadre)
As its name suggests, "Johnny Cash Remixed" is the epitome of the novelty album. Not to disparage the performers or the material, but it's hard to imagine the curious collection would generate more than a passing interest among a select few.
Despite the release's endorsement by Cash's son, John Carter Cash, most Cash fans would bristle at "Johnny Cash Remixed." By the same measure, fans of the remixers aren't likely to be enthralled, either.
But for those handful of music nerds with extraordinarily broad interest, the compilation has merit.
Thirteen of Cash's half-century old songs are beefed-up, pummeled, slowed-down and shocked into submission. Although the most palatable remixes include those that show the most deference to Cash -- such as a "Big River" and a "Folsom Prison Blues" that feature little more enhancement than meatier rhythms -- there's also something admirable about the gutsiest revamps. The bursts of sassy backing vocals and shooting electronic rockets on "The Sonny J Remix" of "Country Boy" is just outrageous enough to work, as is the sludgy synthetic mudslide that churns under Cash on Alabama 3's overhaul of "Leave That Junk Alone."
Unfortunately, the collection is cluttered with what's-the-point-style makeovers, like a sedated "Port of Lonely Hearts" that wobbles till it feels more euthanized than anesthetized. And sadly, rapper Snoop Dogg's duet with a post-mortem Cash on "I Walk the Line," the would-be marquee track in the compilation, is a smoked-over, lumbering disaster.
"Johnny Cash Remixed" is sprinkled with modest amusements and momentary diversions, but nothing here has lasting appeal.
Rating: 3
"TAKE IT TO THE FLOOR," Cash Cash (Universal Republic)
One man's exhilarating techno-pop is another man's tedious techno-pop. And a tween girl might have an altogether different opinion.
It's that third impression that matters most to Cash Cash -- or at least to those invested in the New Jersey group, if not the band members themselves.
Cash Cash's new "Take It to the Floor" is being touted as "techno-pop," which implies the possibility of savvy Euro-dance music with crafty innuendo and campy hooks. But that's exactly what it is not.
Instead, "Take It to the Floor" is purely bubble-gum, a sugary and very American release that attempts to meld together featherweight rock and a somewhat dated version of mainstream pop, with electronica fused in here and there, almost as an afterthought.
There's enough suggestiveness to make parents cringe, but there's nothing clever about it.
Still, "Take It to the Floor" has value as a starter album for tweens. Singer/guitarist Jean-Paul Makhlouf, his keyboardist brother Alex, bass player Sam Frisch and drummer Anthony Villacari have that non-threatening look that seems to appeal to girls. Plus there are dreamy lines like, "You're all I want, you're all I need" on "Party in Your Bedroom" (yes, parents, there's a hint it could turn into that kind of party), and catchy choruses such as that on "Electric Hearts" that goes, "Throw your hands to the sky like you're flying."
Lesser tracks, most of which are serviceable at best, might prompt adults to long for the early days of Backstreet Boys and 'N Sync.
It's worth noting that a track called "Interlude," the only cut produced solely by the group without outside help (or so the credits say), rips into a heady techno rush that proves to be the album's highlight and hints these guys have suppressed potential and ambition.
But for now they're stuck promoting what sounds like a release designed by committee.
Rating: 2
(E-mail Chuck Campbell of The Knoxville News-Sentinel in Tennessee at Campbell(at)knews.com.)
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