After the Grammy-winning 1987 effort , returned with , a concept album of sorts about the nature of life and death. For the first time, extended his creative palette, drawing on the talents of many musicians worldwide. His modified harp was still in full effect, but matched its unique tone with touches of electric guitar (the light, -influenced of ), plaintive violin ( ), and the ambitious title track, which mixed unique percussion and vocal elements into a surprisingly straightforward cocktail. While the composer's early work seemed to be more about relaxation, or where the music could take the listener, seemed to encourage contemplation. It was easy to find solace in the Asian-inflected chording of or the album's atmospheric finale, where flutes, guitar, fiddle, and chimes combined with the harp in an approximation of that famous story about the white light at the end of the tunnel. The addition of so many extra instruments into 's already widely scanning sound worked to expand his ideology as much as it did his sound, since the range of styles represented unified his music with so many locales. was a textured, pensive release that suggested 's later work with an international cast of likeminded musicians and symphonies. ~ Johnny Loftus