Shadow Behind the Iron Sun

Editorial Reviews
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

Tracks:

First Contract
Shadow Behind The Iron Sun
Attack Of The Glow Worm
Land Of Vendon
Icefall
Thunder Caves
The Council
Warrior's Chant
Battle Cry
Wind Horse
Crossing The Bridge
Last Contract
Battle Cry - (Bonus Mix)

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

Customer Reviews:

music i hear with my body .......2005-03-09

I love this album!!! Evelyn Glennie is the most profound percussionist I have ever heard. Her music penetrates my body: sometimes I feel it in my heart, sometimes in my solar plexis. I feel it in my soul. This album can be enjoyed over and over and over. Thank You Evelyn Glennie! Big Gratitude!

Beyond Belief.......2004-06-16

I went to a solo concert of hers because I had heard what I thought must be hype of her wonder. I was totally and utterly destroyed by her performance. She has complete technical perfection, tremendous athletic ability (yes percussion demands of the body), personal charm, and dramatic zest. Many of the albums I listened to after disappointed me because she clearly held herself within the strict measure of the others she performed with. I suspect her deafness makes her fearful of any rubatto in an orchestral setting. This album is the only one that begins to give a sense of her god-like gifts.

You don't listen to it, you experience it.......2001-03-01

This CD is a true experience, similar to Charles Ives' "New England Holidays". The range of instruments Glennie uses and creates brings to mind Mickey Hart's statement about drummers being desperate and doing anything to produce sounds. Her music gets into your mind and body. It's appealing enough that my son, a rap fan, sat fascinated while "Land of Venden" was playing. His comment, "This is almost scary!", leads to my opinion that her talent is almost scary. Do yourself a favor and buy this one, it provides great mental and emotional rejuvenation.

Something a little different.......2000-09-23

Even if percussion sans so-called melodic instruments isn't what you think of when selecting a cd you've got to listen to this. Ms Glennie creates quite a melodic and dramatic tapestry and draws the listener right into the middle of it. Yes, it does take a few listenings to penetrate to the gist of it but that only enhances the genuine beauty contained here. Perhaps that is a given in any deeply creative work.

A near-perfect album.......2000-04-08

Even my dog liked it -- mesmerized by the music, staring at the stereo like the mutt in the RCA logo.

Solo percussion is, admittedly, an acquired taste. The song samples here give you a reasonable flavor of the album. If you don't like them, don't buy it.

Tracks:

First Contact
Shadow Behind the Iron Sun
Attack of the Glow Worm
Land of Vendon
Icefall
Thunder Caves
Council
Warrior's Chant
Battle Cry
Wind Horse
Crossing the Bridge
Last Contact
Battle Cry [Bonus Mix][*]

Customer Reviews:

eclectic percussion compositions.......2006-09-29

Glenie's "Shadow Behind the Iron Sun" is an eclecitc mix perhaps best cateorized as a modern classical percussion. The pieces are peppy, mysterious, and really beyond any easy categorization. They might conjure images of volcanoes, japanese gardens, secret agents in 1960s spy thrillers, Hawaiin rainforsts, calving glaciers, and gypsy dancers. Many have a pulsing rhythm similar perhaps to modern house beats, but are gentler, more melodic, like steady raindrops - lulling, hypnotic, even exciting.

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