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Craig Armstrong: 'Memory Takes My Hand', 'One Minute', 'Immer' Violin Concerto No. 1 ~ Craig Armstrong |
Product details
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Track Listings
| 1. Weather Storm |
| 2. This Love |
| 3. Sly |
| 4. After The Storm |
| 5. Laura's Theme |
| 6. My Father |
| 7. Balcony Scene |
| 8. Rise |
| 9. Glasgow |
| 10. Let's Go Out Tonight |
| 11. Childhood |
| 12. Hymn |
Product Description
Amazon.co.uk Review
Prepare for a ride akin to flipping radio channels. Craig Armstrong's style was set for him with the success of Romeo + Juliet (the "Balcony Scene" being included here). It's what directors have wanted since (e.g. Best Laid Plans) and so why not capitalise on what will effectively be a useful demo and produce an album showcasing all that versatility? "Weather Storm" starts off as he means to go on--strong passages for strings underlined by rough- house club beats. What Armstrong also demonstrates here is a fine ear for comparative sampling with an orchestral backing. "Rise" is a good example of that, with it's layer of vinyl crackle. "After the Storm" is an even better one with tempo sliding about and a highly cut-and-paste intro of effects. With a track named after his hometown--"Glasgow"--there's obviously much that is personal about the project ("My Father"?). A great demonstration of a classical / film crossover artist encapsulating the best of both mediums. -- Paul Tonks
CD Description
Craig Armstrong scored the sweeping string arrangements forMassive Attack's PROTECTION. It is therefore fitting that his debut album should see release through the Bristol band'sMelankolic imprint. Nor should it surprise anyone that THE SPACE BETWEEN US is a veritable waterworks of strings, harps, and longing. To the classically trained Armstrong's credit, the album's resplendent romanticism never becomes soggy oroverbearing. Even as the strings welter and arc in dizzy, heaven-bound spirals, a shadowing of spare downtempo electronics maintains an attractively lugubrious atmosphere.
THE SPACE BETWEEN US is mostly instrumental, though former Cocteau Twin Elizabeth Fraser graces "This Love" with a heart-stopping vocal turn. She blazes brilliantly against Armstrong'sflowering backdrop, as does Paul Buchanan's Brian Ferry-like delivery of "Let's Go Out Tonight". Armstrong's gift for simple and sensitive melodicism surpasses the crass, tear-jerking histrionics in which many of his peers wallow. "Laura'sTheme", "Glasgow", and Armstrong's original setting for ROMEO AND JULIET's oft-scored balcony scene prove him the equalof icons like Nino Rota and Frances Lai and suggest that cinema is Armstrong's true calling. Sure enough, Armstrong hitthe silver screen in 1999 with his score for Jake Scott's PLUNKETT & MACLEANE.
Prepare for a ride akin to flipping radio channels. Craig Armstrong's style was set for him with the success of Romeo + Juliet (the "Balcony Scene" being included here). It's what directors have wanted since (e.g. Best Laid Plans) and so why not capitalise on what will effectively be a useful demo and produce an album showcasing all that versatility? "Weather Storm" starts off as he means to go on--strong passages for strings underlined by rough- house club beats. What Armstrong also demonstrates here is a fine ear for comparative sampling with an orchestral backing. "Rise" is a good example of that, with it's layer of vinyl crackle. "After the Storm" is an even better one with tempo sliding about and a highly cut-and-paste intro of effects. With a track named after his hometown--"Glasgow"--there's obviously much that is personal about the project ("My Father"?). A great demonstration of a classical / film crossover artist encapsulating the best of both mediums. -- Paul Tonks
CD Description
Craig Armstrong scored the sweeping string arrangements forMassive Attack's PROTECTION. It is therefore fitting that his debut album should see release through the Bristol band'sMelankolic imprint. Nor should it surprise anyone that THE SPACE BETWEEN US is a veritable waterworks of strings, harps, and longing. To the classically trained Armstrong's credit, the album's resplendent romanticism never becomes soggy oroverbearing. Even as the strings welter and arc in dizzy, heaven-bound spirals, a shadowing of spare downtempo electronics maintains an attractively lugubrious atmosphere.
THE SPACE BETWEEN US is mostly instrumental, though former Cocteau Twin Elizabeth Fraser graces "This Love" with a heart-stopping vocal turn. She blazes brilliantly against Armstrong'sflowering backdrop, as does Paul Buchanan's Brian Ferry-like delivery of "Let's Go Out Tonight". Armstrong's gift for simple and sensitive melodicism surpasses the crass, tear-jerking histrionics in which many of his peers wallow. "Laura'sTheme", "Glasgow", and Armstrong's original setting for ROMEO AND JULIET's oft-scored balcony scene prove him the equalof icons like Nino Rota and Frances Lai and suggest that cinema is Armstrong's true calling. Sure enough, Armstrong hitthe silver screen in 1999 with his score for Jake Scott's PLUNKETT & MACLEANE.
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