IONA

Iona's Open Sky is, if anything, a lovely excursion from typical progressive rock, so much so that I would hesitate applying the label. This is, for the most part, breathy Celtic music with minimalistic instrumentation serving as a backdrop, and four lead instruments- bagpipes, violin, electric guitar, and gorgeous feminine vocals. Mainly, the album suffers from a sameness that makes actively listening to it something of a bore; instead, this makes excellent background music.

"Woven Cord" Airy music opens the first piece. When things pick up, there's heavy drumming and blasts of a wailing bagpipe. It is followed by electric guitar over a spacious backdrop.

"Wave After Wave" Retaining the pervasive Celtic flavor, the second piece features a bittersweet fiddle. Joanne Hogg's beautiful vocals are heard for the first time.

"Open Sky" Over sparse instrumentation, Hogg sings. This is largely a vocal track that features some vast electric guitar playing.

"Castlerigg" This expansive piece consists of light synthetic padding and eventual bagpipes. Gentle vocals dance gracefully on the calm and quiet music. It doesn't pick up until the final two minutes, where the piper really lets go alongside a peppy rhythm section.

"A Million Stars" Melancholic violin makes up the shortest piece.

"Light Reflected" This song features delicate vocals and a more forceful guitar solo.

"Hinba" Here is yet another soft song highlighting Hogg's copious talent as a singer and Troy Donockley's abilities as a bagpiper.

"Songs of Ascent (Part 1)" The first section of this tripartite piece consists of more New Age music, eventually led by a calming flute. Suddenly heavy drumming sets upon things, abruptly introducing the vocals.

"Songs of Ascent (Part 2)" Inviting and delightful, the second part brings in an electric guitar and a soothing harp. It opens into what is perhaps the airiest portion of the album.

"Songs of Ascent (Part 3)" Lovely vocalizations and buoyant percussion makes for a charming listening experience. It is followed by a full-bodied guitar solo.

"Friendship's Door" The final track is a sleepy one- more of the same, or, I should say, less of the same.

I am not afraid of humbly anointing Iona as one of my favorite groups all-time. There is something about their music that leaves me wordless (not an easy task, I assure you), an overpowering sense of fulfilled strength that has nothing to do with fiery guitars, buzzing keys and frenetic bass and drums (though I enjoy those immensely). It's just that Joanna Hogg has a voice that rustles my soul, a deeply emotional, crisp, serene and dynamic delivery. For many fans this was the first salvo in a distinguished career, yet for me, I arrived at it just now and I remain intensely aware of their now apparent progression. The best way to describe this recording is to underline the profound spirituality, the sense of historic pride, age old traditions and deep felt customs that permeates the grooves. Yes, the content is quite Christian in intent but it does not come across as preachy and formulaic. In fact, the strong Celtic instrumental undercurrents make the words personal as opposed to communal, thus elevating the music beyond substance. The imperial "Opening Theme" and equally lush "Revelation" are enchanting digressions into the misty realms of Northern European folklore , the epic qualities really shine through the clouds on "Matthew-the Man" , an 11 minute + adventure where the bass, polyrhythmic beats and dense mellotron unite to rekindle the spirit of one of the apostles, a cinematographic historical documentary where guitarist/keyboardist Dave Bainbridge gets to display his implausible talent, a master of shadow and filigree, nimble acoustic guitars and that angelic voice that IMHO is miles ahead of any other female singer including Annie Haslam. The various pipes, saxes and flutes only add more dramatics to the core, a majestic symphonic torrent that streams fluidly, supremely held together by the fabulous Stick man Nick Beggs (of Kajagoogoo infamy) and former Peter Murphy drummer Terl Bryant. Funny about great musicians, they know where to improve their craft! Anyway, this is mindless symphonic beauty. "Chi-Rho" remains a perennial concert darling as the groove really swoons mightily, soft and pastoral at first for the ethereal vocal to develop, a true tour de force. When the beat kicks in, the entire object takes form, a concisely artful expression of Celtic folk balladry, bouncy and carefree featuring a sensational sax solo that will churn your innards. "Mark-the Lion" is a percussion-fueled cruise with twirling synth fluffs, suddenly evolving into a massive wall of sound, sax afire and booming drum fills and a Holdsworthian guitar blast that keeps everything in perspective. "The River Flows" has an aquatic cadence that flutters gently, an eternal medieval breeze of past intricacies and inspirations that is pure restraint and perhaps closer to folk than anything up to now. "Luke- the Calf" is a ponderous piece where the opaque atmospherics rule supreme, billowing clouds and crashing waves caress the ears and thus the soul. "Virgin and the Child" is an obvious religious theme and yet the music stays out of the moralizing norms, beatific flute and mandolin coalesce with ease and utter peaceful intent. "Temptation" wishes to show a darker side at first, a bruising maelstrom of sonics restraining the impending charge, led by a smooth guitar sizzle, Arabic horns and some solidly placed Middle Eastern beats, evidently evocative of the Holy Land. Very refreshing stuff! "The Arrest" is more disturbing emotionally; some very powerfully felt underlying pains that are aptly expressed by deep synthesized colorations and a haunting sax explosion. The gentle "Trinity" is another whopping slice of dense prog- folk, an ambient scape that little by little builds into a shimmering cloudburst with another cascading sax solo and some nimble fretless excursions. The sea again careens into the foreground on "John- the Eagle" with David Fitzgerald's expansive horn blowing a sorrowful lament, certainly a sax fiend's delight, intertwined between some superb piano delicacies. The tremendous "The Kells" has a more military backbone, pulsed by marching drums, rattling guitars and a glistening Hogg vocal that scours the heavens, remaining patriotically reflective even as the axe rages history's pain. The grand finale is "Eternity" a title that does not surprise in view of the themes expressed on the entire recording and a fitting farewell to a harrowing recital. Again very ambient and vaporous, I can understand some who may find Iona too reflective but powerful emotions is not always the realm of crunching speed guitars and thunderous double bass drum rolls. Though not religious, I play this on Sundays for my Christian friends who look at me in bewilderment. For you newbies get Open Sky first or even better the Live in London DVD+CD . 4.5 resting leprechauns

At times, the music sounds like that which is conveniently found near the candles and home décor in stores like Target, with titles like "Tribal Relaxation" or "Irish Rain." This Celtic-inspired music is never unpleasant in the least, but it certainly isn't anything groundbreaking, interesting, or even great. It's refreshing and soothing, but to be honest, there's nothing beyond that.

"Turning Tide" Soft keyboards with gentle vocals and pipes introduce the album.

"Flight of the Wild Goose" The highlight of this piece is the moving electric guitar. While the saxophone is pleasant, it isn't my thing, but the backing instrumentation is well done. The bass tone is especially good.

"The Island" Lovely piano begins the third track. Finally, there are lyrics, delicate though they may be. This is a solid song, if a bit repetitive.

"White Sands" Gorgeous flute and acoustic guitar play throughout this gentle piece.

"Dancing on the Wall" This is closer to straightforward music (Christian-themed rock, perhaps). It's not a bad song, but nothing spectacular.

"A'Mhachair" Calming synthesizers begin this one. A saxophone cuts through, in a way taking things back to the second track.

"Vision of Naran" Fretless bass and acoustic guitar give way to the lovely lead vocals. It isn't Joanne Hogg's most compelling performance, but she still sounds great. The song itself, however, is enchanting and one of the best pieces on the album. I love the melody.

"Beijing" Some pseudo-Oriental instrumentation and melodies make up this track, which, were it not for the title, might have stood on its own without coming across as trite. This is a prime example of the Pure Moods music I in a way referenced in the introductory paragraph.

"Iona" The song for which the band derives its name is more placid music with gorgeous feminine singing. Her pronunciation of that one word is heavenly and beyond words. I am speechless.

"Trilogy" The saxophone is back, again over airy synthesizer. Unfortunately, it's a dull piece that generally sounds like it should be a soundtrack for a steamy 1990s made-for-TV movie sex scene.

"Here I Stand" A lone female voice begins this short song. The pipes are a very peaceful addition.

"Columcille" Light synthesizer and bagpipes finish off the album.

I consider myself a true Iona fan. I grew up on prog rock that mostly came out of Britain, Europe and the UK as well as great Canadian groups such as Max Webster, Rush, Ian Thomas, The Guess Who, etc. I first heard Iona at a friend's house; the album was The Book of Kells. It was one of those visits where you can't keep to a conversation because the music keeps drawing you in. This is the power of Iona's music. I immediately purchased The Book of Kells as well as their new album that year (1993), Beyond These Shores. These two CD's were in my CD player all the time. But in 1995, when Journey Into The Morn was released, I immediately purchased it and it has become my favourite of all the Iona CD's/DVD's I own. The magic on this album is difficult to place as there is a depth in the quality of the arrangements, musicianship, and production qualities, showing a maturing from previous releases. The album as a whole is very dynamic and takes you on a journey that opens you up in heart and mind. Powerful arrangements and soaring melodies leave you content at the end of the album. The musicians who played on this album, in my opinion, are the most potent group. One cannot say enough about Dave Bainbridge's compositions, or his keyboard and guitar playing - overflowing with excellence and skill. Add to that the powerful, dynamic, and musical drums & percussion that Terl Bryant adds with the absolutely over-the-top bass provided by Tim Harries...I have to take a moment here to speak of the excellent musicianship of Tim Harries: what a great sound he has! And his melodic and punchy phrases are very instrumental in moving the listener on the journey the music is taking you on; I have spent many a listen just soaring on his bass lines. I hadn't heard of Tim Harries until this album but he is one of the top favourite bassists in my listings. And then there is Troy Donockley, masterful and exquisite on his pipes and whistles and sharing with the equally masterful sax and flute work of Mike Haughton. Over and above all of this is the ethereal and delicate voice and acoustic guitar of Joanne Hogg. The whole of all these parts is truly a beautiful thing. There is only one song I thought didn't fit in the framework of the album as a whole: track 9. No Heart Beats. Aside from this I consider it an excellent addition to any music lover's collection.

This album has been a big surprise for me. A Spiritual Celtic folk/ambient album with some electric guitars thrown in the mix. While I do find that the album's generally soft vibe, somewhat minimalist arrangement and structures may not be for everyone, it is some of the best music of this kind I have come across (However, I do not own many albums like these). Open Sky is moving and positive-sounding; the kind of music someone needswhen having difficult times in his/her life. The instrumental arrangements are masterfully and carefully done in a way that keeps the music both complex, accessible, and plain gorgeous and emotional. Quite a feat! Another positive remark I could add is that the female vocalist has a gorgeous voice. The warning: listen to the first of the samples here Trilogy, if you do not enjoy that, you probably will not enjoy this style.

Woven Cord starts ambient but quickly brings a very energetic drum theme which plays for a few minutes while Iona display great Celtic arrangements. A short ambient interlude leads way into an electric guitar solo under a slow tempo. The song finishes with the percussion dominated fast-tempo theme from earlier.

Wave After Wave might be poppy at first glance and you might think you picked the wrong album, but it has enough depth to make it also a progressive tune. The time signatures don't always stay in 4/4, the instrumentation is full of layers, and the harmonies achieved are a result of masterful songwriting. The main melody is extremely memorable and the 7/4 rhythm is very natural and enjoyable.

Open Sky is very heavenly and even more sweet/sugary than Wave After Wave with an unforgettable chorus melody that borders on genius. A distorted electric guitar pops up later in the song, but has no resemblance to hard rock or metal.

"Castlerigg" might be my favorite piece in here though it is one that is less immediate and one that you need several listens. It has a beautiful ambient flute intro until a gentle percussion theme starts spinning around your speakers with a Celtic theme on the spotlight. Later, acoustic guitar and violin introduce the singer who is almost whispering here. This moment is so beautiful that it could make a sensible listener to shed a tear; it might be the most beautiful moment in the album. Afterwards, the acoustic guitar takes the spotlight while Joanne (singer) sings some great wordless vocals. This sounds very upbeat and up to this point it tends to relieve my worries and stresses. The song ends with the Celtic theme sped up.

"A Million Star" is one I thought was underwhelming at first, but this atmospheric tune is plain gorgeous. Violin is the main expression of this somber interlude.

"Light Reflected" does not carry as much emotional power to me nor has as much instrumental depth as the previous songs, but there are two moments that elevate it from a solid song to a great one: the "around the sun" soaring vocal line, and the fantastic guitar solo at the end.

"Hinba" is better. It is a simple song, but some of the best vocals are here and the end has probably the best Uillean Pipe melodies of the album and some great bass guitar work as well.

"Song of Ascent pt.1" has an extended intro that is soothing, ambient and relaxing. Joanne has a spotlight later and as always, she shines. The instrumentation is very lively around minute 5-6. "Song of Ascent pt.2" is instrumental and has great melodies sandwiching a successful ambient exercise in the middle. "Song of Ascent pt.3" starts ambient and explodes in a Celtic fashion.

"Friedship's Door" is a mellow. Easily the least progressive song in the album, but it is very emotional. The vocals are great and the finishing Celtic melody is a great touch. Unfortunately, the end of the album is just ambient with sound clips of various parts of the album flying in your headphones. Not the kind of ending I'd like.

I wanted to give this album five stars due to the quality of the first 5 tracks, but I feel like the second half has no masterpieces and sometimes makes me feel like I've heard enough when I'm around Song of Ascent (my least favorite song here). Nevertheless, this is one of the better albums I have heard this year and I would not hesitate to recommend it to anyone who can enjoy a mellow style.

Warning: This is VERY celtic in style, so if you dislike flutes, bagpipes, mellow tunes and choir, you should steer clear of this gem.

Otherwise, I think anyone with a truly open ear will find this to be an amazing adventure of sound! Truly magnificent. I would have to say that the sax is potentially the most annoying or the most beautiful instrument in any given song. It all depends on how it is presented. Sadly for me, I found myself gritting my teeth every time a sax or otherwise loud horn was featured on this album, and there are many instances. However, what is additionally included are some truly emotionally uplifting melodies, with beautiful vocal performance and top-notch musicianship. The only setback is the obnoxious wind instrument that belongs more in a slow pop song than a celtic rock album, but hey, who am I to make that final call? Listen and decide for yourself if the additional instruments are out of place.

So, clearly celtic in influence, why exactly is Iona considered 'Prog Folk'? Well, while the irish vibe is definately there, there is enough originality to this that makes it I think stand alone and rise above the other similar-sounding celt-rockers. There are also a couple of straightforward pop songs that should uplift anyone's day, nomatter how bleak it may seem.

I use the term 'uplifting' alot, no? Well, indeed, this album is not dark at all, nor is it moody, epic or even obscure lyrically. But as I have said before, more easily-swallowed music is just as good as some of the more prolific greats such as Yes or Tool. It is just a different breed of the same style of music. IONA, as the album is titled, is Iona's debut album, apparently, and while I have not heard any other releases from them yet (I plan to order more very soon, however), I can see where this type of mixing electric music with celtic folk stylings can easily become repetetive and uninspiring, so hopefuly the Iona clan branched out into other realms of music in their later releases, otherwise I may have to tag this as a one-hit wonder, which Prog is no stranger to. I hope that isn't the case, though, as I hear and see the potential in Iona to become a great Prog Folk band that will be revered for generations to come. Now, if only more people knew about them . . .

Oh yeah, and happy (if not unique) listening.

Transcendent: 1. Lying beyond the ordinary range of perception. 2. Being above and independent of the material universe. Used of the Deity. 3. Iona's "Open Sky" album. Okay, so I added that third definition on my own. I couldn't help myself. It's the most descriptive word I can use for this glorious CD. As I have written in other reviews of their works, this group creates music that is different in many, many ways from other forms of progressive music and requires the listener to slow his/her pace down a notch or two as to allow one's spirit to escape the fetters of gravity for a while. It may be just the antidote needed when the troubles of the world press in on your soul and rob you of hope.

I find that a fair review of this album necessitates delving into the realm of creative imagery, so bear with me, if you will (and be prepared for a plethora of adjectives). As the powerful "Woven Cord" begins imagine that your soul is in the cockpit of a space shuttle, looking upward from the launching pad. An early-morning fog slowly dissipates and you are cleared for liftoff. Roiling drums and piercing Uilleann Pipes erupt as the engines ignite and you jet upwards into open sky. The torrid velocity is exhilarating as you climb away from the earth, then a leveling off period ensues and you finally get a chance to take in the vista of being miles above the planet, accentuated here by Dave Bainbridge's blazing electric guitar ride. But then the second-stage booster kicks in and you ascend once again to the sound of Troy Donockley's pipes until you've achieved a lofty orbit. It took a lot of thrust to get there but it's been a fabulous ride so far. However, you soon realize that there's no shuttle at all. You are free to explore space without hindrance.

A violin and a combination of acoustics and various guitar-like instruments (They employ e-bows, bouzoukis, Indian guitars, autoharps and Portuguese mandolas at one time or another so take your pick) usher in the gorgeous "Wave After Wave" as Joanne Hogg's angelic voice dances deftly over deep keyboard-generated strings. "Wave after wave rolls in/and the line is gone/where my feet have been" she sings. Drummer Frank Van Essen and bassist Phil Barber provide a powerful rhythm track underneath and the song has a stirring, "traveling" bridge. The tune reaches a peak and they wisely allow the momentum to resonate in its sheer power for a few bars before dropping down to let Joanne sing the last stanza alone. While floating in the sublime aftermath of that song "Open Sky" begins and this lovely ballad gently pulls you even farther away from the world. Hogg's soft vocal is surrounded by pristine instrumentation as she reminds you that your unique personality is "the gift of life/the essence that can never die." These two songs are so exquisite that, for a moment or two, you may think you've landed on a sublime plateau of pure love. I can only pray my words do them justice.

"Castlerigg" opens with a lone Irish whistle whispering out from a cavern of sound, then a wall of Uilleann Pipes scorch the air and I can visualize an army of kilt-clad soldiers marching boldly across a wide meadow on their way to battle some terrible injustice. It's a wonderful assault on the senses that eventually descends to just violin, acoustic guitar and Joanne delivering a short verse before the whole thing launches back into the furious procession, this time riding a strong rock beat that drives the number hard to the end. The instrumental "A Million Stars" follows and here Van Essen's sweet violin sets a hypnotic and serene mood atop Bainbridge's lush keyboards. It's 3 minutes, 19 seconds of bliss. A slow, mesmerizing groove travels beneath Hogg's voice on "Light Reflected" wherein she sings "Light of light eternal/light my way for me." It's one of the most comforting tunes I've ever heard. The aura the band develops on this cut wraps around the listener like a warm coat on a cold winter's day, then drifts away peacefully.

Next is a pretty song written by Joanne called "Hinba" in which the pipes and violin intertwine and compliment her crystal-clear tones, setting you up for the three parts of "Songs of Ascent" that are truly out of this world. Beginning with what I can only describe as celestial cascades of distant orchestral strains swirling in the ether, this must be what heaven sounds like. Fluid whistle melodies arrive, preceding Hogg's delivery of poetic lines like "here in the purest light of the heavens/mysteries revealing/in songs that surround me/an emptiness for You to fill/my soul a cavern for Your sea" as the music gradually intensifies around her. The second movement features guest Billy Jackson on Celtic harp as he joins into a symphony that is constantly changing/evolving into a fantastically dense atmosphere, then comes to dissolve into mere whispers. Soon a wall of music emerges to overtake you and eventually a supernal melody descends on your spirit, soothing like a mother's caress before building to a satisfying crescendo. In part three Joanne's voice bounces wordlessly in and out of a scattering of notes, then becomes part of a kaleidoscope of colors as a beat pattern gathers momentum below it all before eventually bursting out with Troy's pipes warbling spectacularly. All I can say about these 21 minutes of paradise is "Hallelujah."

How they can follow up such an achievement is beyond my comprehension but they do just that on "Friendship's Door." Hogg's disembodied vocal hovers over droning keyboards like a magical apparition. Never a group to get in a hurry, they allow their splendid creation to breathe and exist on its own plane without needless embellishment. When Donockley's pipes come in playing the melody it's so elegant and resplendent that it nearly breaks my heart. The track ends with an intriguing collage of disjointed musical excerpts that are quite dream-like as they fade into space. It's almost as if your soul is walking the bridge across forever and it's looking back for one last glimpse of earth. As Joanne states in the chorus, "these are some of the things/that take my breath away." Amen.

I didn't believe Iona could ever top their immaculate "Book of Kells" album but I was wrong. This is as good, if not better. But that's like comparing diamonds. I sincerely hope there are other proggers out there who can and will enjoy indulging their spiritual senses and bathing their minds in the superb goodness of "Open Sky" as much as I do.

This is a very good blend of Contemporary Christian music and Celtic folk music that I salvaged from my mum's CD collection. Robert Fripp's touches on a couple of tracks aren't particularly notable, but there are some magnificent performances on this album. The vocals are brilliant and unmatchable. Joanne Hogg offers a truly moving version of the classic hymn 'When I survey the Wondrous Cross'. Elsewhere the epic 'Encircling' really soars, with atmospheric drumming and Gilmouresque guitar playing. Songs like 'Wisdom' and 'Everything Changes' are truly beautiful, while conveying those important songs of worship (I, myself am a Christian). I'm glad to see that there are bands like Iona taking a progressive approach to Christian music, but this seems very rare. The one problem with this album is that it is a bit long, without varying an awful lot, but it still does what it's supposed to do, create atmosphere, and one does not have to be listening intently to appreciate the effects of this album. Since there is so little variation I feel like I can only rate it three stars, taking into account that I'm predominantly a heavy metal fan, this is not my number one choice for music, although I like to keep my mind open (which is why prog appeals to me so much).

Being a reviewer for this website is not only something that I enjoy immensely but it is also a privilege I take rather seriously and spend a lot of time thinking about. Like most proggers, from time to time I come across an album by one of my favorite artists/groups that I don't find to be as appealing to my sensibilities as most of their others but still maintains the high standards of musicianship, arranging and production that they're known for. This creates a real conundrum for me because, while it doesn't dazzle me, I must acknowledge that it might attract a listener to the band specifically because it DOESN'T emphasize the side of their sound that I adore. In other words, I wouldn't want to discourage anyone from checking the incredible Iona out just because I'm not completely knocked out by "The Circling Hour."

What I crave about this group isn't simply their inspired propensity to manifest the ethereal but their total, unflinching embracing of it as they did on the sublime "The Book of Kells" and, to a large extent, on the exquisite "Beyond These Shores." But groups naturally evolve in one way or another and perhaps, after a lengthy six year hiatus from the studio, they reunited with a been-there-done-that attitude regarding their former creations and wanted to explore something more dynamic and assertive. That's fine. However, I reserve the right not to like it as much. It comes down to a question of personal taste.

A mellower-voiced Joanne Hogg starts "Empyrean Dawn" off in a disarming way before a shake-the- walls explosion of sound detonates and shocks the listener with a huge cathedral organ roaring underneath various instruments and voices dipping in and out of the fracas. Things settle down considerably for the smooth verses but then a more forceful, rocking rhythm track than I'm used to hearing from this band takes over and the whole thing becomes quite aggressive as it drapes around a thrilling melody line. It's a drastic departure from their usual approach and that bold spirit continues into "Children of Time" as drummer Frank Van Essen lays down a strong, overly loud beat that reminds me of Phil Collins' angry "I Don't Care Anymore" rumbling on his second solo album. It's a bit much but the music retains an almost festive flair between the verses that is refreshing. Overall it's a decent song but not remarkable. "Strength" transitions away from an initial warm, flowing feel into a subdued yet near-metallic guitar/bass riff that seems forced. Again, this harder sound might draw in prog lovers who find Iona's earlier CDs to be too quiet (some say boring) so I don't want to be too critical here. It's worth mentioning that the tune gradually builds up to a spacious ending that's impressive.

By this point in the proceedings I've become more acclimated to their new, wilder temperament and can better appreciate the best cut here, the stirring (mostly instrumental) epic "Wind Off the Lake." The intro features the deep, mysterious shrouded-in-fog effect that these guys do so well before Troy Donockley's Uilleann Pipes and Frank's violin usher in a traditional and very familiar Irish bagpipe air and the whole song soars into the heavens. This track rocks! It ambitiously travels through different movements that include chorales and electric guitar runs (Dave Bainbridge can shred with the best of 'em!), creating excitement every step of the way. It exits through the same door it came in with Joanne scatting wordlessly from out of a dark, hovering mist. It's an excellent piece of music. Unfortunately what follows is the nadir of the album for me, the jagged "Factory of Magnificent Souls." The song just never seems to find its groove as it jostles over a choppy rhythm track from beginning to end.

"Sky Maps" is another generally instrumental number that puts even more distance between them and their more pastoral past as they rush headlong down the rock & roll highway. Dave and Troy's electric guitar work is exceptional but the repeating phrase of "notice how." from Hogg seems like an unnecessary afterthought. The tune drops into a light verse for a while, then returns to the busy melody before collapsing into a peaceful coda where acoustic guitar and a low whistle reign. Another highlight arrives with "No Fear in Love" that has a spacey introduction showcasing Iona's trademark dense depth of field from the earlier albums I mentioned. Joanne's angelic voice literally floats over the music as she sings "love is beyond the mind/love is beyond its reasoning/love is the path that leads to paradise." I wish there was more of this.

The three-part "Wind, Water and Fire" suite is next and for me it's a courageous but ultimately uneven undertaking for the band. "Wind," with its delicate violins and keyboards weaving in and out of each other, establishes a restful and serene atmosphere that segues seamlessly into "Water" where Hogg once again scats over lush tonal terrain before a light beat pattern appears, then dissolves. "Fire" follows and it is true to its title in that its up-tempo electric guitar melody becomes furious at times as it blazes away. It diverts into a more dramatic segment where Bainbridge shines even brighter on his guitar and a massive finale ensues. While the whole thing falls short of spectacular for me I have to give them props for bravely venturing into the symphonic prog area where giants rule. "Fragment of a Fiery Sun" is a reprise of the album's first brief notes but here they take time to further explore and develop the song's beauty and it pays dividends as it makes for an elegant finale.

"The Circling Hour" is a fine album. Not essential but most assuredly good and I expect it will charm those who prefer a harder edge to their progressive music in general because these musicians are not lightweights in any sense of the word. I truly wish I enjoyed this CD more but I must be true to myself and tell it like I hear it. This one gets a three-star rating because it just doesn't move me emotionally and spiritually on the same level as their work in the 90s does. I have a strong feeling that many of you will feel differently and consider this to be a step up from those recordings. To each his own. 3.4 stars.

It seems only proper that there should be a section in every progger's stash of music that caters to the more contemplative and peaceful side of one's consciousness. In my case Iona more than fulfills that need. Their sound has what I like to describe as a "depth of field" that captivates and draws me into their mist-shrouded world every time I listen to them. To consider them boring would be a mistake because it would indicate that you aren't paying close attention to the myriad of different instruments that are swirling in the mix. Their skillful blend of modern and traditional influences is very respectful, unique and creative. Some have labeled Iona's offerings as being too religious in nature but I disagree with that pigeonholing. While I don't deny that they obviously derive much of their inspiration from the Christian realm, this is spiritual music for the soul, no matter what you believe in.

They begin the album in a mystical atmosphere as Mike Haughton's lone recorder slowly appears like a soft, welcoming lighthouse beacon on a foggy shoreline amidst Terl Bryant's eerie, ancient percussion devices. Soon Dave Bainbridge's heavenly keyboards arrive in force to make "Prayer on the Mountain" an impressive start to the journey. They segue seamlessly into "Treasure" with gargantuan guitars and rhythmic drums paving the way for Joanne Hogg's inimitable voice to take you hostage. She is the golden heart of Iona and if you haven't heard her sing yet then you need to. Here Terl's drumming is surprisingly aggressive and sets the tone for much of the CD. Another admirable characteristic of this group is the poetic quality of their lyrics as they express things you don't often find being addressed in other prog formats. Like grace. "If a son asks his father on earth/for fish or for bread/who among you would give him a snake or a stone?" she sings, "How much more does the father above/have a heart full of love/for the children that he calls his own?" That's good stuff. A spacey intro leads to a majestic melody in "Brendan's Voyage (Navigato)" and then a 12-string acoustic glides beneath Joanne's strong voice as she describes making preparations to strike out on a risk-filled quest, something most of us can relate to at one point or another in our lives. It also has one of those "shimmering" fadeouts that I adore.

"Edge of the World" is my favorite tune on the album. It's a beautiful ballad about leaving behind the safe and familiar for the great unknown. "Shall I turn my face/towards the shining sea/taste the salt of tears/for those I have to leave." she laments. On the memorable chorus the band employs intriguing kicks and accents that bring to mind what Peter Gabriel did on "Don't Give Up." The song is an absolute stunner and Haughton's soprano sax at the end is a joy. Up-tempo percussion roiling under Hogg's unadorned vocal on "Today" comes next and the stirring string score gives this number a distinct, traditional Irish flavor that is warm and welcome. It's yet another standout song. The soothing instrumental "View of the Islands" follows and it's a gorgeous duet between Dave's acoustic guitar and Mike's ethereal recorder. "Bird of Heaven," the album's longest and most engaging track, opens with lush keyboards surrounding a tenor sax before transitioning into a rockin' 9/8 segment that is exhilarating. The folkish verse and chorus concerns itself with the error of trying to coop up the acme of one's faith in the cage of suffocating dogma. "Lock him in religion/gold and frankincense and myrrh/carry to his prison/but he will be gone" for universal truth is ever-evolving/expanding and "still the bird is flying as before" Hogg sings. The grand ending is towering and cavernous with Bainbridge displaying not only his keyboard prowess but also his admirable guitar virtuosity. This man is a truly gifted and multifaceted musician.

"Murlough Bay" is no let-down, either. Here Joanne's angelic voice accompanied by fluid acoustic piano is a subtle treat, especially when she sings triumphantly "And here at last/I'm on my own with you..." But just as they nearly lull you into a meditative state the tune literally bursts out into a drop-dead- gorgeous chorus that rivals any group residing in the symphonic prog wing of the archives. It is stunning and a real eyebrow-raiser. It's darn near impossible to keep up this level of intensity so it's not surprising that "Burning Like Fire" slows the momentum some as it's a fairly pedestrian trek into pop. Dave performs a hot guitar ride but it's not quite enough to elevate this song above average. The peaceful instrumental "Adrift" follows with dense keyboards and piano layered over sounds of a wooden boat creaking in the calm waves, creating a lonesome but nonetheless comforting mood. A famous lover's leap on the south coast of England is the inspiration for "Beachy Head," another tune that ventures perilously close to being MOR "contemporary" (but perhaps it merely reflects the prevalent music style of the early 1990s). The ending with Haughton's sax wailing away is emotional and heartfelt, to be sure, but it grows to be a bit overwrought before the abrupt stop comes, symbolizing the final suicidal dive of one of the heartbroken souls that tragically ended their life on the rocks at the foot of the cliffs.

"Machrie Moor" is a lovely instrumental featuring guest Fiona Davidson on Celtic Harp and the band's livelier, uplifting side is showcased on the spirited "Healing" where Hogg's elated delivery of lines like "A time will come when the pain will go/A time will come when the love will flow/A time will come when your heart will know. Healing" is hard to ignore. Their performance of "Brendan's Return" is a gallant reprise of the earlier cut, this time without vocals but with exciting, tight rhythm section work from Bryant and bassist Nick Beggs and a thunderous, dynamic arrangement by the band. Once again Dave's piercing guitar cuts like a knife. The finale and title track, "Beyond These Shores," starts with Joanne singing by herself and the effect is amazing. Soon she is joined by the string section, piano and deep keyboards that will carry your soul out of and above your daily existence. And, as Bainbridge's exquisite piano drifts away into the Irish mist, you are left with a feeling of serenity that is elusive and rare.

I consider their incredible album that preceded this one, "The Book of Kells," to be more consistent and mesmerizing but I don't state that in order to disparage this CD in any way. "Beyond These Shores" is an exemplary work of aural art. If you have yet to discover the sublime pleasure that is Iona then I urge you to do so. (Can any album that Robert Fripp takes part in be anything less than high quality?) While it may not be something you'll get the yen to listen to as often as say Yes or Pink Floyd there will most likely come a time in your existence when cerebral and inspiring music will be exactly what you're wanting and needing to hear and you'll be glad you have this album in your prog collection. 4.5 stars.