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FACTORY SEALED. MINT CONDITION. NOT A COPY OR BOOTLEG. ORIGINAL U.S RELEASE.small promo drill hole rear upper left corner.
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. PLEASE READ!
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