ON THE EDGE (OF WHAT COULD BE)

CD1 1. For Evermore for the ethereal bucolic opening to dream and leave its mark 2. On the Slopes of Sliabh Mis for the ambient prog at Solstice, folk trace for the flute and nostalgic Uilleann pipes; to delve into this universe so distinctive, so pure 3. Colour of Time for the hint of Asia, Yes even, then the digression with the guitar solo and the finale smelling of Neal Morse, ah, two believers, a coincidence? 4. That They May Be One for the beautiful ambient interlude where the guitar flirts with Brian May's on a velvety keyboard 5. On the Edge (of What Could Be) for the acoustic intro, folk world, then the backing vocals and the feeling of having a BBT or a FK. The island fiddle digression, on Iona and Genesis, with Troy's bagpipes still playing. 6. The Whispering of the Landscape for the guitar arpeggio plucked out notes on a revisited Horizons. 7. Hill of the Angels for the rustic prog intro, the female vocals, and a layered track riding the symphonic prog wave with bucolic breaks for a serene atmosphere, well-crafted but at risk of getting lost along the way.

CD2 1. Farther Up and Farther In for the bucolic electric instrumental where the synth brings freshness to this currently dated, beautiful but regressive sound. 2. Reilig Òdhrain for the Gaelic essence, Instruments of Time for the world prog fresco; flute with heavy reinforcements of bucolic atmosphere with divine backing vocals and a guitar that flirts with the works of Mike Oldfield. the latent finale, choirs, notes contracting for the Olympian atmosphere showing that the guests all have a foot in the prog of Big Big Train, Neal Morse, Iona and Genesis above all 3. Beyond the Plains of Earth and Time for the classical instrumental interlude with violin, viola and cello responding to the guitar to rise to the solemn 4. Fall Away with Sally singing a verse from Emily Brontë's poem; the symphonic Celtic folk piece that shakes up the codes with a recent sound reminiscent of the 70s and 80s and makes you review the scales heard 5. When All Will Be Bright with Rachel's Gaelic voice for the solemn finale, the invasive, soaring keyboards of Dave who is ultimately a little everywhere on this album.

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