Alan Stivell''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''s tenth album for Dreyfus is an all-instrumental solo affair involving six specially designed harps, low whistle, and keyboard and percussion effects. Ronan Le Bars and David Hopkins play Uilleann pipes and additional percussion, respectively. It is Stivell''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''s devotion to the once-defunct Breton-Celtic harp tradition that drives this music (the liner notes are in English, French, and the little-known Breton language). But despite his fascination with antiquity, Stivell is a modernizer, as is made clear, for instance, by the electronic drum effects on "Bleimor, le Bagad." The ambient, spacy aesthetics bring Stivell close to the realm of new age, but above all one can hear the naturally creaky sound of acoustic string instruments, and that''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''s always a pleasure.