A1 	Crumble 	
A2 	Landfall 	
A3 	Marcasite 	
A4 	Reverse 	
A5 	Dark Light 	
B1 	Geisha 	
B2 	November 	
B3 	Rosa Morta 	
B4 	Terminal

Craig Armstrong - Keyboards, Primary Artist, Producer, Programming
Andy Bradfield - Mixing
Scott Fraser - Guitar (Bass), Keyboards, Primary Artist, Producer, Programming
Katie O'Halloran - Vocals 

From the outset Craig Armstrong and Scott Fraser decided their collaboration would be based on an electronic aesthetic. We intentionally limited ourselves almost entirely to using vintage synthesisers, modern hardware synths and soft synths. The use of electronic bass and piano were the only exception to this rule. As a composer who regularly works with orchestras this was of course liberating and fun. Out of mutual fascination with early synthesisers from a young age this was often the catalyst for the beginning of each track.

Each track was composed within one day often without much change thereafter. This gives the tracks an improvised feel. We also gave no limitation to the length of the tracks; they are as long as felt necessary or as short as they demanded. The direct melodic and immediacy of impact was purely the result of each working day and what felt right at the time.

Musically we are influenced by electronic music from throughout the decade but only subconsciously after a lifetime of listening and playing. As composers we have written in several genres and feel all musicians should feel free to express themselves whether in the abstract, tonal, experimental, song improvisation etc.

Two tracks were used in the soundtrack to Peter Mullan’s 2010 film NEDS, a film about gang culture in the 1970’s in Glasgow. ---craigarmstrong.com

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1 	Outside 	2:26
2 	Dust    (Featuring – Jerry Burns)	6:24
3 	Sing 	4:34
4 	Strange Kind Of Love    (Featuring – Katie O'Halloran)	3:44
5 	Désolé 	6:39
6 	Crash    (Featuring – Brett Anderson)	3:51
7 	Violet 	3:51
8 	Powder    (Featuring – James Grant, Jerry Burns)	4:30
9 	Lontano 	5:50
10 	Inside    (Featuring – Chris Botti)	2:58
11 	All Around Love    (Featuring – Paul Buchanan)	2:32
12 	15 Summers 	4:46
13 	Its Nearly Tomorrow    (Featuring – Vladislav Delay)	5:22
14 	Tender 	2:12
15 	It's Not Alright    (Featuring – Paul Buchanan)	4:37
16 	Early Sun 	2:36
17 	Endings 	2:22

Acclaimed composer Craig Armstrong's It's Nearly Tomorrow his first new album in six years, featuring long term Glasgow collaborators Paul Buchanan, Jerry Burns, James Grant and Kate O'Halloran. Other guests include Brett Anderson, Vladislav Delay (The Dolls), and Chris Botti on trumpet. It's Nearly Tomorrow was written over three years while Craig worked in his Glasgow studio on various orchestral projects including the score for Baz Lurhmann's The Great Gatsby and a new opera The Lady From The Sea for Scottish Opera. The album was recorded all over the world: Glasgow, Babelsberg - Berlin, Prague, London, Sweden, Finland and Los Angeles.

This beautiful new record is comprised of songs, piano tracks and orchestral works that reflect the many sides Craig Armstrong as a composer and his love for music in all forms. ---discogs.com

You always know where you are with this Glasgow composer. Armstrong has earned his corn with soundscapes of distinction for film-makers (Baz Luhrmann) and acts (U2, Massive Attack, Madonna). A solo work in name, It’s Nearly Tomorrow pulls in vocal contributions from Paul Buchanan, Brett Anderson, Katie O’Halloran and James Grant. It’s a vibrant album full of nocturnal musing and moods.

The presence of Buchanan is telling – It’s Nearly Tomorrow owes much to The Blue Nile’s broody conjurings of starry Glasgow rooftops and deserted streets. Though recorded around the world, there’s a sense of the composer and musicians bringing it all back home. Armstrong’s piano work and orchestral piping is wistful and dramatic, providing the songs with robust heft, and sending the listener dreaming into the night. ---irishtimes.com

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1 	Sun On You 	1:34
2 	If You Should Fall 	3:33
3 	Restart 	3:15
4 	Marelle 	3:20
5 	Mono 	0:46
6 	Shifted 	2:11
7 	Somewhere 	3:36
8 	Alti 	2:23
9 	For Emma 	3:01
10 	Half Light 	3:23
11 	Sleep 	2:39
12 	Hanami 	3:39
13 	Ondine 	4:28
14 	Soft Patterns 	1:53
15 	In A Remote Place 	4:51
16 	Saudade 	4:28

Craig Armstrong - Piano
Scottish Ensemble:
Georgia Boyd - Viola
Ben Burnley - Double Bass
Rachel Davis - Viola
Duncan Lyall - Double Bass
Daniel Pioro - Violin
Cecilia Weston - Conductor 

I’m very pleased to announce my new album ‘Sun On You’. When composing I felt strongly that each composition gave me, the ensemble and the listener a moment to reflect. The unhurried nature of the pieces gives a sense of time standing still. I think I wanted the pieces to reflect a quietness and stillness. ---craigarmstrong.com

The Scottish film composer Craig Armstrong has released several albums of music that are non-cinematic, but are basically in the same vein as his soundtrack compositions. Sun on You is something else again: its 16 compositions are quite far to the minimalist side. They have evocative titles, but except for Soft Patterns, they are consistent: a simple piano part elaborating sixth or minor seventh harmonies, backed by strings, carefully sculpted and always in the background, by the Scottish Ensemble. It is as if Armstrong had noticed the large profits being reaped by Italian minimalist Ludovico Einaudi and resolved to create a British equivalent, more intimate and more pastoral. One's reaction to this will depend on one's aims in listening to it: for relaxation or meditation, it will fill the bill. But it's worth noting that engineering is key in a project of this kind, and Decca's staff, working at Air Studios in London, have done a wonderful job. With some programming and mastering involved, they have created a sound design that backs the music flawlessly, with each orchestral murmur and feathery fade in place. Recommended for lovers of crossover piano music. ---James Manheim, AllMusic Review

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1 	Weather Storm	6:03
2 	This Love    (Vocals – Elizabeth Fraser)	6:25
3 	Sly II	5:17
4 	After The Storm 	5:08
5 	Laura's Theme 	5:27
6 	My Father 	2:03
7 	Balcony Scene (Romeo And Juliet)	5:16
8 	Rise 	4:24
9 	Glasgow 	5:21
10 	Let's Go Out Tonight    (Vocals – Paul Buchanan)	6:01
11 	Childhood 	5:38
12 	Hymn 	1:19

Piano, Keyboards, Arranged By [Orchestra], Conductor – Craig Armstrong 
Written-By – Craig Armstrong (tracks: 1 to 9, 11 to 12), Marius De Vries (tracks: 4, 7, 9) 
Orchestral Leader – Gavyn Wright, Perry Montague Mason

You may be familiar with Craig Armstrong, if not by name, then by some of his work. He’s worked on the score for the recent Romeo and Juliet remake that featured Leonardo DiCaprio. He’s done string arrangements for many artists, including some of Madonna’s recent material. Armstrong arranged the strings on Massive Attack’s first album, and they repay the favor on The Space Between Us by aiding in the songwriting, as well as releasing this album on their label, Melankolic.

However, their influence is barely noticeable, because The Space Between Us primarily shows off Armstrong’s skill at creating some powerful and evocative string arrangements. While trip-hop beats and sounds are sprinkled throughout this album, and guest vocalists Liz Fraser (Cocteau Twins, and who turns in a performance that sounds like a kinder, gentler Portishead) and Paul Buchanan (Blue Nile) lend their considerable talents, everything takes a definite backseat to Armstrong and his arranging skills.

It shouldn’t surprise the listener to learn that Armstrong has worked on film soundtracks. All of these songs sound like they were written for films, primarily tragic love stories, I think. There’s even a piece from his work on Romeo and Juliet, titled ​“Balcony Scene.” At first, I was expecting something with oodles of mushy dialogue from the film. This is actually one of the more lovely pieces on an album full of them. A very Windham Hill-ish piano melody gently plays throughout, until overtaken by one of the gentler string arrangements of the album. Slowly building, with playful filigrees around the edges, this piece positively soars, giving away to some faint film dialogue at the very end, which is tastefully done.

The only downfall that I could find is that some of the songs seem too melodramatic at times, but Armstrong keeps the music from getting that way too much. Rather than letting the arrangements go on and on, he reigns them in so that you don’t get tired of them. That way, none of his work seems contrived. He uses string arrangements the way they should be used, not as an accompaniment to give an already-weak song some more weight, but to accentuate and augment the emotion of the song. ---opuszine.us

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