If the lush, sweeping strings and ambient beats of
The Space Between Us seemed cinematic,
As if to Nothing suggests an even bolder turn toward film score territory. It's an indication of how
Armstrong's stock rose after Moulin Rouge was released and after his work with
Massive Attack was featured in advertisements and soundtracks around the world that so many collaborators join the fray here.
Bono,
Evan Dando,
Mogwai,
Photek, and
David McAlmont all attempt star turns, and less well-known performers from
Big Dish,
Alpha, and
Laub get in on the festivities as well. But
Armstrong's string arrangements are still the focal point, to the extent that most of the collaborators are relegated to a back seat. The album's high points mostly reside in the instrumentals, though
Evan Dando's vocals break through the electronic wash in "Wake up in New York" and former
Big Dish member
Steven Lindsay's voice shines through on "Let It Be Love."
Swati Natekar and
Mogwai give a strong showing with "Miracle" and
Alpha vocalist Wendy Stubbs' tenderly voiced "Sea Song" is sublime, though less studio polish would have aided both songs. The showy reworking of
U2's "Stay (Faraway, So Close!)" gives
Bono the chance to emote like few contemporary
U2 songs. The brilliant "Waltz" sees
Laub's
Antye Greie-Fuchs presenting a spoken-word manifesto over ambient gurgling. The instrumental "Inhaler" is a punishing change of pace, though it betrays a heavy
Depeche Mode influence.
Armstrong is certainly a talented studio technician, but there's a sense that he's relying too heavily on his patented string arrangements on
As if to Nothing. While the album is another stylized dose of theatrical pop electronica, there is an undeniable feeling that
Craig Armstrong is holding back. ~ Tim DiGravina