Shadow Behind the Iron Sun

1	First Contact for percussion 3:09
2	Shadow Behind the Iron Sun, for percussion 2:47
3	Attack of the Glow Worm for percussion 3:19
4	Land of Vendon for percussion 27:36
5	Icefall, improvisation for percussion 3:11
6	Thunder Caves, improvisation for percussion 5:08
7	The Council, improvisation for percussion 3:54
8	Warrior's Chant, improvisation for percussion 2:08
9	Battle Cry, improvisation for percussion 4:39
10	Wind Horse, improvisation for percussion 5:32
11	Crossing the Bridge, improvisation for percussion 2:22
12	Last Contact, improvisation for percussion 2:48
13	Battle Cry, improvisation for percussion Bonus Track / Bonus Mix 4:28

Barnes & Noble

Improvisation is an art rarely practiced by classical musicians these days, but leave it to adventurous percussionist Evelyn Glennie -- who has scaled virtuoso heights despite severe hearing loss -- to make a recording of totally improvised music. Teaming up with veteran pop producer Michael Brauer (who's worked with the Rolling Stones and Tony Bennett, among others), Glennie has created a breathtaking and unclassifiable sonic showcase that draws on a panoply of styles, including the driving beat of rock, the exotic chime of Balinese gamelan music, and the anarchic experiments of John Cage. She performs on a dizzyingly long list of percussion instruments -- from delicate Japanese hand cymbals to drumkit to a set of car exhaust pipes -- that Brauer layers into a mesmerizing aural tapestry. But for all its lushness and magnetism, SHADOW BEHIND THE IRON SUN isn't music to play in the background -- it's much too intense for that. This is an album to get lost in; a strange and wondrous labyrinth of sound with unexpected delights at every turn. Andrew Farach-Colton

All Music Guide

This is a discussion of a piece of music that was improvised in studio, but fixed into the form of a composition when the improvised tracks were added to by overdubbing, addition of synthesized sound and samples, and other post-production manipulation. (It is discussed as a composition on a linked page.)

The heart of the music is the astonishing set of performances by master percussionist Evelyn Glennie. The recording was made from October 12 to 16, 1998 in Whitfield Street Studios, London, a space that was literally filled wall to wall with much of Glennie's vast collection of standard, exotic, unique, and often homemade percussion instruments. The Instrumentarium also included noisy children's toys, Glennie's favorite bagpipes, and an assortment of music boxes, including one that played Tea for Two in the foreground while others chimed away at various distances.

Producer and mix-master Michael H. Brauer obviously had an intelligent and versatile mike set-up that could follow Glennie's moves from one instrument to another, often on the spur of the moment. (Re-takes, splices, and editing were impossible, as Glennie's basic performances were truly spontaneous.) This worked out particularly well in the astonishing twenty-eight minute movement called "Land of Vendon," which is just one track, one take also featuring pianist Philip Smith.

Glennie plays with amazing versatility, precision and drive. The sound is demonstration quality. The whole disc maintains a logical concept as a single piece of music. Brauer demonstrates how the post-improvisation treatment of the original tapes could be used to make different and distinct compositions by including an alternate mix of the movement called "Battle Cry."

This recording is a must for all percussion fanciers.

Joseph Stevenson