The first track captures the essence of the spirits of the sea dancing in the mist, the foundation of the mermaid myth perhaps. A mirage in the moving desert of the sea, or is the desert a slow motion ocean? Exceptionally transcendent in structure and tone, it holds your attention at quite a deep level of consciousness. I have to say I'm not a great fan of Debussy, so I don't have the foreknowledge of the original works and will view these interpretations as tracks in themselves. The level of control over such a slow moving gargantuan structure bears testimony to a grand amount of tolerance and patience to create and experience, as well as creative skill in working with classical music as a foundation stone and redeveloping it into something new and perhaps better. A postmodern view of Debussy. The piano of Lena works wonderfully well and pulls the greater construct of Doc's work into a tighter focus. Beautiful stuff, combined well. Behind the Veils brings to mind again, a spiritual essence to the elemental force of water. It being an alien environment right under our noses, relative to geographical positioning, conjures up the idea of the surface tension as being the first veil to transgress. Sinking deeper, i.e. drowning effectively, makes me wonder how many stages of consciousness and involvement there are to being overcome by such an emotional medium. Blavatsky comes to mind, as well as the original classical composer, both of whom would have found life and its mysteries, a different fascination to what we would generally do so now. As you float slowly downwards there is a simultaneously floating upwards in a bipolarity of changes of being and existence. Stages of death by drowning and transmigration of the soul. Separation anxiety must add to the trauma that could be possible, although this track is a peaceful transgression of subtle boundaries. Again, the piano adds that vital spark of life going on regardless and amenable structuring to the vast sway of the synthetically interpreted tides and undercurrents. An Island of Joy (In a Sea of Electronic Dreams) begins with the crashing surf against piano key crabs scuttling on the beach, amongst the driftwood and seaweed, left stranded. A safer viewing of the environmental element, from comparatively dry land. An alternative perspective, where the listener is surrounded rather than submerged as such. Although as the waves crash to the shore, it remains a constant, temperamental variable with a hearty roar. Linguistically, a sea of electronic dreams seems somewhat paradoxical, electricity and water not being particularly compatible as a rule, but dreams cover the apparent juxtaposition. Acceptability only being possible in a virtual time and space at the end of the day, and fitting as the last track of the album, where it converges all sensations into an admissive format. Permissable perambulation, a convenient conjunction of disparate entities. In an age when the sea apparently threatens to overwhelm our last bastion of defence, the good old terra firma. The compromise being wiggling your toes in the wet sand as the foam washes over them, slightly shifting your stance in relation to the transposition of the boundary between. Overall, a truly epic testimonial to a great artist by two other great artists. Nice work. Certainly one to meditate upon.