The first ever release from this label & featuring the artist who was later to give then their first CD album. MICHAEL NEIL has here combined several previously released pieces with one which had so far been unreleased. His music typifies the ELECTRONICAL DREAMS label-sound - soft, drifting music changing through structure to fantasy, almost touching New Age, yet never becoming so sickly-sweet. The first side opens with "Calvary", familiar to those who may have invested in the "Dreamstates" taster album, this is a drifting, shifting piece of music which might owe as much to GRAEME REVELL as it does to the lighter, beauteous electronical scene. It drifts like clouds across a sky - not pretty flocculent lambs-wool or scudding streaks of grey & white, or mackeral-scaled & static, but dramatic enough to inspire the heart & to suggest, perhaps, a super-sentience behind creation. "Runners (Part 4)" has a familiar tune, although what exactly it is escapes me. The tune is a much more forward, whiter piece which moves slowly along with a plodding sequential foundation contrasting with a bright & far-reaching central synth fantasy. It's poppy & atmospheric - the kind of thing they'd use as an accompaniment to visual segues on sports programmes. "Rachael", again bright, is played solo on spacey organ synth, and has a sound somewhere between Trad. Folk music & Medieval sounds, with a generous helping of atmosphere & image from the less clichéd side of New Age. "Spirits Of Singing Water" uses light, sparkling sounds to create images of sunlight reflecting off rippling water, yet manages to gel the randomness of such fragments into a slowly-drifting piece of music with what sound like flutes held within the body of the sound. It builds up into a much larger, more dramatic piece, darker, as if moving away from the surface of the water and into the depths. "Shea Gwahir" opens side two, again familiar to anyone who bought & is addicted to "Dreamstates" - a bright yet massive instrumental which reaches for & surmounts the rafters, gigantic yet benign. It thumps it's huge drums & chitters sequentially, yet remains static, happy & proud just to caress the firmament without embracing the Earth itself. "Gwel-An-Mor" has a sound which resides somewhere between New Age Legend fantasy & light Industrial experimentation. It moves with gradual slow grace, a gentle drift of sound swelling & fading, describing tales in a shifting array of chords, always benign, often magnificent. "Goodbye To The Greenlands" taken from the cassette album of the same name, and presumably also on the CD, this is a darker, altogether more dramatic journey, as if in some Summer' s Afternoon dream you find yourself passing through some veiled catacombs, aware of the sunlight warming your skin, aware of your safety, yet drifting into the darkness, coldness & loss. Originally reviewed for Soft Watch - unfinished.