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On this CD:
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First Contact
Composed by Evelyn Glennie
with Evelyn Glennie, Oliver Walker, David Motion
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Shadow Behind the Iron Sun
Composed by Evelyn Glennie
with Evelyn Glennie, David Motion
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Attack of the Glow Worm
Composed by Evelyn Glennie
with Evelyn Glennie, David Motion
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Land of Vendon
Composed by Evelyn Glennie
with Evelyn Glennie, Philip Smith, David Motion
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Icefall
Composed by Evelyn Glennie
with Evelyn Glennie, Oliver Walker, David Motion
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Thunder Caves
Composed by Evelyn Glennie
with Evelyn Glennie, David Motion
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(The) Council
Composed by Evelyn Glennie
with Evelyn Glennie, David Motion
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Warrior's Chant
Composed by Evelyn Glennie
with Evelyn Glennie, David Motion
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Battle Cry
Composed by Evelyn Glennie
with David Hobson, Evelyn Glennie, David Motion
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Wind Horse
Composed by Evelyn Glennie
with Evelyn Glennie, David Motion
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Crossing the Bridge
Composed by Evelyn Glennie
with Evelyn Glennie
-
Last Contact
Composed by Evelyn Glennie
with Evelyn Glennie, David Motion
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Battle Cry (Bonus Mix)
Composed by Evelyn Glennie
with David Hobson, Evelyn Glennie, David Motion
Product Description
Amazon.co.uk Review
RCA's association with Evelyn Glennie has increasingly focused on what you might term "crossover" repertoire; combining styles and even music in a way that leads to new music and new approaches to performance. Or should do. Part of the problem with Shadow Behind the Iron Sun is its uncertainty as to what its trying to be. Glennie performs and improvises with customary flair, while Michael Brauer collaborates and produces on a similar "give and take" basis. Yet the (deliberate?) absence of common goals means that the results are patchy at best. Most of the tracks are strong on atmosphere and impact, but don't offer much for repeated listening. The longest track, "Land of Vendon", is a colourful sequence of dynamics and textures, which doesn't add up to a cohesive overall piece. "Battle Cry" throws in a range of samples and world-music resonance, and we're treated to the dubious pleasure of a "bonus mix", but to little substantial effect. Perhaps what's missing is an accompanying video, providing visuals to the audio in a way that Ryauchi Sakamoto has pioneered. On its own, Shadow... feels limited, even inhibited by its lack of focus. A pity, Glennie has few equals when it comes to technique and charisma. This disc has to be counted an under-achievement. --Richard Whitehouse
From Amazon.com
If you think the percussionist's role is merely to supply rhythmic backbone, you haven't encountered the phenomenon named Evelyn Glennie. The category-defying Scottish musician has spent her career pursuing the unique route of percussion virtuoso, turning music into an intensely hyperactive verb. Glennie's sound world encompasses a global, pan-cultural panoply of music makers in addition to the standard drum kit: watergongs, bamboo sticks, ceramic bells, car exhaust pipes, finger cymbals, thundersheet--to name a few from the arsenal she uses here (Glennie reportedly owns over 1,000 percussive instruments). Even in her interpretations of works by other composers--such as James MacMillan's Veni, Veni, Emmanuel or the Grammy-nominated Concerto for Percussion by Joseph Schwantner--Glennie scoops out plentiful opportunities for improvisation; but the concept of Shadow Behind the Iron Sun was to allow Glennie to lock herself up in her studio and improvise the entire album. With the help of her collaborator, pop mixmaster Michael Brauer, the result is a fantastically textured, mesmerizing adventure for the ears and the imagination. Despite a vague ambition to explore "as many moods as possible" (Michael Crichton's Eaters of the Dead was apparently the source for some of the picturesque titles here, such as "Attack of the Glow Worm" and "Wind Horse"), the variety and juxtaposition of colors evoke a cinematically gripping, almost synesthetic sense of atmosphere--yet another evolution of "program music" into the 21st century? Much of the fun is in experiencing sounds whose origin remains mysterious, as Glennie performs her one-woman-as-orchestra wonders. --Thomas May
RCA's association with Evelyn Glennie has increasingly focused on what you might term "crossover" repertoire; combining styles and even music in a way that leads to new music and new approaches to performance. Or should do. Part of the problem with Shadow Behind the Iron Sun is its uncertainty as to what its trying to be. Glennie performs and improvises with customary flair, while Michael Brauer collaborates and produces on a similar "give and take" basis. Yet the (deliberate?) absence of common goals means that the results are patchy at best. Most of the tracks are strong on atmosphere and impact, but don't offer much for repeated listening. The longest track, "Land of Vendon", is a colourful sequence of dynamics and textures, which doesn't add up to a cohesive overall piece. "Battle Cry" throws in a range of samples and world-music resonance, and we're treated to the dubious pleasure of a "bonus mix", but to little substantial effect. Perhaps what's missing is an accompanying video, providing visuals to the audio in a way that Ryauchi Sakamoto has pioneered. On its own, Shadow... feels limited, even inhibited by its lack of focus. A pity, Glennie has few equals when it comes to technique and charisma. This disc has to be counted an under-achievement. --Richard Whitehouse
From Amazon.com
If you think the percussionist's role is merely to supply rhythmic backbone, you haven't encountered the phenomenon named Evelyn Glennie. The category-defying Scottish musician has spent her career pursuing the unique route of percussion virtuoso, turning music into an intensely hyperactive verb. Glennie's sound world encompasses a global, pan-cultural panoply of music makers in addition to the standard drum kit: watergongs, bamboo sticks, ceramic bells, car exhaust pipes, finger cymbals, thundersheet--to name a few from the arsenal she uses here (Glennie reportedly owns over 1,000 percussive instruments). Even in her interpretations of works by other composers--such as James MacMillan's Veni, Veni, Emmanuel or the Grammy-nominated Concerto for Percussion by Joseph Schwantner--Glennie scoops out plentiful opportunities for improvisation; but the concept of Shadow Behind the Iron Sun was to allow Glennie to lock herself up in her studio and improvise the entire album. With the help of her collaborator, pop mixmaster Michael Brauer, the result is a fantastically textured, mesmerizing adventure for the ears and the imagination. Despite a vague ambition to explore "as many moods as possible" (Michael Crichton's Eaters of the Dead was apparently the source for some of the picturesque titles here, such as "Attack of the Glow Worm" and "Wind Horse"), the variety and juxtaposition of colors evoke a cinematically gripping, almost synesthetic sense of atmosphere--yet another evolution of "program music" into the 21st century? Much of the fun is in experiencing sounds whose origin remains mysterious, as Glennie performs her one-woman-as-orchestra wonders. --Thomas May
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What Do Customers Ultimately Buy After Viewing This Item?
![Evelyn Glennie - Her Greatest Hits [BOX SET]](http://ecx.images-amazon.com/images/I/51uknjiAGyL._SL75_SS50_.jpg) |
47% buy Evelyn Glennie - Her Greatest Hits [BOX SET]£7.57 |
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33% buy Evelyn Glennie - Rhythm Song£12.98 |
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20% buy Evelyn Glennie - Drumming £12.98 |
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