Customer Reviews

Whisper House

5 star:		(9)
4 star:		(6)
3 star:		(5)
2 star:		(1)
1 star:		(0)

 

 

I am going to be honest, my first listen through it and i was left disappointed. It wasn't what I expected after all these years.

Then I listened through a second time and I enjoyed the flow of the music from track to track. Most remember able was the track "The Tale of Solomon Snell." I enjoyed the whimsical sound of woodwinds and brass instruments. It gave a nice, enjoyable sense of dark resonance. Reminding me of the overall feel of the "Series of Unfortunate Events" universe and also of what Tim Burton's worlds are supposed to be.

Another track I admire is "Take A Bow". The composition seems so perfect for the end of this album. It is hard to explain but I envision the end of a movie. The title sequence. I absolutely love it.

The CD is a great. Well worth the wait. Though it is a concept album.

I say get it. If you have been a fan of Duncan Sheik since "Barely Breathing" then you will love this.

Although Spring Awakening recently closed on Broadway, it was certainly one of the more interesting and ambitious shows to tread the boards over the last few seasons. Some found it overly depressing and pretentious, but there was no denying the power of the story, the dynamism of Michael Mayer's direction, and the magnetism of the uniformly talented cast.

One of my initial concerns about Spring Awakening was the often non-integrated nature of the score. Duncan Sheik's songs, with lyrics by Steven Sater, didn't always seem directly relevant to the action at hand. But I eventually reconciled that concern with Mayer's deliberately anachronistic, almost Brechtian presentation. Yeah, the show was set in the 19th century, and here we have these kids singing into microphones, and talking about listening to stereos, and singing directly to the audience. But all that seemed part of a conscious decision on the part of the creators to try to give the story more universal resonance, something that today's youth could more directly identify with.

Since the success of Spring Awakening, we've been hearing periodically about other musical-theater projects that Duncan Sheik has been working on, including Whisper House, which comes out today in concept-album form. The new CD features Sheik on vocals, along with guest artist Holly Brooke. The songs sport music by Sheik and lyrics by Sheik and Kyle Jarrow (A Very Merry Unauthorized Children's Scientology Pageant), the latter of which is also providing the book for the developing show. The story centers around a mother and child who live in a lighthouse in Maine around the time of World War II. The boy's father dies in the war, and the story of the child's and the mother's grief is related through the eyes of the ghosts who haunt the lighthouse. An intriguing scenario, to be sure.

But as a possible result of the ghosts-as-narrator conceit, Whisper House plays, at least on CD, more like a soundtrack than a cast album: the songs comment on the action rather than propel it forward. Except for the first two songs, it's hard to figure out what's going on in the story from just listening to the CD. Of course, the same can be said of a number of other shows, including Cabaret.

The songs of Whisper House themselves are pleasant enough, although by the end of the CD I found myself struggling to distinguish the different tracks from each other. They all seemed to blend together into one album-long lament. I think I was also becoming increasingly perturbed that the songs didn't seem to be telling the story. The only track from the CD that has stuck with me in "The Tale of Solomon Snell," a macabre little self-contained fable with some catchy orchestral touches.

The melodies and orchestrations of Whisper House seem to consciously echo those of the The Eagles and The Beatles, although the dated nature of those references should give you an inkling of how long it's been since I paid any attention to "popular" music. The lyrics fall frequent victim to slant rhyme, pairing "precaution" with "Boston" and "arrival" with "style." This is also true of Spring Awakening, and I, for one, have little patience for it. I know it's an acceptable practice in pop music, but I'm a bit of a purist, and hold musical theater to a slightly higher standard.

But the premise for Whisper House is intriguing, and although the CD doesn't really float my musical boat, I'm willing to give Whisper House the musical the benefit of the doubt. Perhaps as the show develops, the songs will become more integrated into the story. Or perhaps the show will feature a presentation style that will make the songs work in their current form. No word yet as to when the show might appear on stage, but Sheik is currently performing the songs from the show on tour.

I liked DS way back when...and didn't know what had happened to him. Off the radar (mine, at least). Then I saw him perform on 2/17, and was quite impressed. On the basis of the show (and fine, truly satisfying performances), I purchased this disc. Wow. It's really elegant, cohesive, entertaining...I find myself at times of the day when I'm not listening to the CD humming tracks without even realizing what I'm doing. Holly Brook (who performed that night also) is AMAZING as well! (PS: "Severe Joy," an apparentely ad-hoc unit featuring Brook, Lauren Pritchard, and two other writers/performers who open for DS's show MUST release a CD!) I must find more of her music - she's going somewhere. I can't imagine a better match for his smooth and soft (not a negative, there) voice. I would classify this CD's style as adult alternative, and though I'd love to know what DS can do in an edgier sense, everything on this CD works pretty well. I LOVE these tracks: We're Here to Tell You, Tale of Solomon Snell, Play Your Part, Take a Bow. Earthbound Starlight and I Don't Believe in You also. The others feel as though they move the plot along, while the ones I spotlighted shine for me. But I do like them all - not a bad cut on this album. Nice touches on the additional instruments, including the brass and guitar by Gerry Leonard (talented, played the DS show as well). I think part of it (talking to other people after the show) is that you have to like the story - a ghost story, which I did. I look forward to finding out what this will "look like" as it's turned into performance. When I listen to this CD and read interviews, etc., I realize there's a lot more to Duncan Sheik than meets the eye (or ear, at first listening). I hope for continued explorations from him, and I plan to get acquainted with all I've missed.

Last night I had the pleasure of seeing Duncan Sheik on stage, just five feet away from me, performing many of the songs from this CD and explaining the concept behind it to the audience. Duncan remarked several times that he was enjoying this new phase of his career, and preferred it over singing about "some stupid girl who dumped me" (his words). Indeed it seems that Duncan has reinvented himself with the success of the Spring Awakening musical, and is now focused on creating thematic works. The question is, how well does this new approach hold up?

Spring Awakening was impressive. I saw it twice in the theater, and that's saying a lot for a guy who has always avoided musical theater in the past. The mix of edgy, poingnant, relevant themes and a live band on stage with the actors made this experience very unique and exciting (yes I know, this was done in Rent which I have yet to see but that will be corrected next month when it comes to my city).

Spring Awakening thus casts a long shadow and sets the bar very high for this, Duncan's next project. In that context, this quiet, meditative song cycle was initially a bit harder to evaluate. My first thought was that, while many of the songs worked well standing alone, the story was a little hard to follow. One of the biggest criticisms I heard of Spring Awakening was that Duncan's songs did not always mesh with the story, and my first take was that the same was true here. However, having Duncan explain some of this material made the whole project cohere a little more at least in my imagination.

Imagination is the key to this work. It's a Tim Burtonesque story about ghosts haunting a lighthouse where a young boy protagonist arrives. The ghosts sing him slightly macabre tales with a weird, dark sense of irony and humor. Ultimately the ghosts reveal themselves as being not such bad...people?...and offer him some more kindly advice through the boy's various dilemmas. It seems that both the boy and the ghosts grow from the experience. However, any plot points beyond that are hard to determine. I get the sense that the plotline is clearer in Duncan's head than it would seem from the CD. I think we'll all understand it a little better when the play opens next January.

I enjoyed the twisted humor of some of the songs and the reassuring tone of others. "Play Your Part" and "You've Really Gone And Done It Now" are probably my favorites, as well as the opener "It's Better To Be Dead" (which sets the stage pretty well for the story's theme) and the fun closer, "Take A Bow."

It will be interesting to see what direction(s) Duncan takes in the future. He seems legitimately tired of being an alt-singer-songwriter and creatively energized by this playwright-songwriter phase, which is great. I expect fantastic things when Whisper House debuts in the theater. Until then I have this story-song CD which, although not always clearly following a linear plot, is quite an enjoyable listen.

"Whisper House" is a concept album of a potentially forthcoming show from "Spring Awakening" composer Duncan Sheik. So this is not a cast recording, but rather a pop-rock-folk album, with the show's songs performed by Sheik and a couple guest vocalists, most notably the ethereal Holly Brook.

It's a strong collection of songs, with a melancholic mood reminiscent of "Spring Awakening." The story has to do with a young boy who is befriended by some ghosts, and based on this recording, it's a good score with a lot of promise. Taken on its own, this is a really good album--sort of mellow and a bit gloomy, and perfect for listening on a chilly fall evening. There is abundant melody, and I had difficulty getting two of my favorite tracks, "The Tale of Solomon Snell" and "Take a Bow," out of my head for days.

As with most concept albums, it's difficult to tell exactly how this would sound in the theater, with a full cast. My impression is that a little more variety is needed--the songs might be a bit TOO similar in tone from one to the next for the theater (In "Spring Awakening," Sheik did a good job mixing the melancholy ballads with all-out rock songs, so he's definitely capable of adding some more flavor). And with just eleven songs, we'll need some more. But I really like what's here, and look forward to seeing how "Whisper House" evolves.

The first track's refrain of "life is naught but pain, it's better to be dead" sets the tone for the rest of the album.

Take "The Tale of Solomon Snell" for instance. Solomon is a very cautious man and specifies that he should be buried in a Safety coffin. Unfortunately the man paid to listen for the coffin's bell got drunk and didn't hear it. "You can play it safe, but it won't end well"

Earthbound Starlight: Life is hard, it's a fight.

Don't believe in you: Life is a sinking ship and you're at the wheel. There's nothing you can do and we don't believe in you.

Take a bow turns things around in a perfect finale. The singer addresses each of the characters from the songs. To Solomon Snell: "You have a bell, let it ring, you're alive, you should sing." Also, to us: "If we've learned anything, you should love, you should sing."

This is soon to be a musical on stage about a young boy sent to live with his aunt in a haunted lighthouse. All of the songs are sung by the ghosts. Duncan Sheik has some wonderful backup vocals by Holly Brook.

Big fan of his last record White Limousine and the surprise Broadway hit Spring Awakening that won him multiple Tony awards, but Whisper House may be Duncan Sheik's finest work yet. This is the soundtrack to a musical that hasn't been performed as of this writing (2009), which tells the story a young boy living in a lighthouse who can hear the songs of ghosts.

Duncan Sheik's career has turned out to be vastly more interesting than that of most of his peers whose songs were played alongside his mid-90s hit single "Barely Breathing." May this record be the one that gets earnest fans to stop yelling for it at his shows.

All I can say is Mr. Sheik you have created another masterpiece! I have
been a fan since I played with my band the song "Barely Breathing"
(Which is another masterpiece). This one has gone past the last CD Duncan
has put out "White Limo". This is like the old great Cd's he has put out
like his first one and "Humming". His lyrics are striking and wonderful.
This Cd has what I call his magical orchestrations. On his earlier CD,you can hear a lot in the backround sounds that was not really pertaining to the the song,but it all fits wonderfully. A guitar d-tuned,a bass drum beating very softly in the backround. In Whisper,Shiek uses wonderful orchestrations of strings,and these diffrent "settings" of guitar. It just does not sound like you average CD. Listen for the the backround things that goes on per song. Shiek's lyrics are better than ever! He is introducing a great singer Holly Brook which fits like a glove with Shiek's harmony's. When I first put this CD into my car stereo, I felt that calming sense that I used to get on Sheik's old stuff. This is the most underated fantatstic musician that has ever entered the music scene. All I can say is I am very proud that Mr. Sheik is back to his natural writting styles. A truely masterful production! Please get this one and discover Duncan Sheik. Then go back and buy his first one and "Humming". Daylight and Phantom Moon might take you a little while and White Limo,I am sorry I dont know what happened to him. But getting back to Whisper. This is a CD where you come home after a hard day, get your wine or favorite beverage,sit down in your favorite easy chair,turn
the lights down,and listen to this man's creativity,his music,his lyrics
especially. It will create your sense of well being........ Thank you again Mr. Sheik, a true masterpiece, a true masterpiece..........

Many people thought that Duncan's musical career was over after "Barely Breathing", but I'm happy that Mr. Sheik proved them wrong. Those that have followed his work have discovered many "gems" of his, over the years. Spring Awakening is a masterpiece and although it has closed on Broadway, it remains alive and well on-stage in many parts of the world. Whisper House is the latest piece of work by Duncan, and I must say that it is brilliant! I saw Mr. Sheik in Delaware in November 2008 and he performed many songs from Whisper House and explained the concept. I've been looking forward to this release since that night in November and I can't wait for the show's future production.
I suggest that prior to listening to this cd, you turn off your cell phone, get a nice glass of whatever you enjoy and pull out the cd booklet to read along with as you listen, so you get the full effect of the music and it's story.
I also suggest that you go to iTunes and download the bonus cover track " The Ghost in You" originally done by Psychadelic Furs. It's fantastic!
Thank you Duncan for another wonderful piece of work!