Gareth Dickson's release is one which is not bound by the standard sense of time. Comprised of nine melancholic tunes drifting at their own pace, gently unfolding in space, evoking images of winter and water, of fog and future (past).

There are residual echos of well established cult heros: Nick Drake, John Fahey or even Vashti Bunyan (with whom Gareth has been playing with as a part of her touring line-up, and successfully left the crowd absolutely enchanted after playing a seemingly impromtu performance during the Melbourne leg of her tour).

Where Dickson excels is with his unique use of the guitar as a sound making body. A glorious object in which to explore rich landscapes, the drone in song, and acoustic ambience. This is beautiful music, music in the act of levitation, a ghostly presence; almost tangible but never within reach.

"Technology" opens the set eschewing any overt use of the medium, instead, an uncanny sensibility is evoked as the narrator phrases "death is a breeze" amongst a haunting atmosphere of brooding tranquility. "Technology", a seemingly intrusive social construct reduced to a clouded thought, a stark atmosphere, breathtaking and bewildering. "Noon" again places the listener in a stark 'song' world whilst "Solina Sea" expands on the sonic suggestions in earlier tracks - a sonic anaesthetic, as warm as it is foreboding. It's not so far fetched to suggest that parts of this release formulates a music Brian Eno may have come up with if he had decided to make his classic 'ambient' records with a guitar.

Throughout this release one is exposed to a passing thought, captured and reconfigured as a mood. An audio figure which remains true to the form but one which taps into a new sound world, cross-wiring the sound of folk with the mood of a more ambient zone. A voice appears, faintly reciting words, simple words with poetic shifts in meaning. This is not, and let us make this clear, not just another psych, drone, folk record for the coolsie kids today. This is a breathtaking collection of songs, which present themselves as so much more.