Moonchild

The album begins with the most accessible track on the album, 'Strange day in the country' which starts with a minute of atmospheric wind and rain effects before John's harmonised voice softly begins; 'Kingdom of souls of the wild and distant rolling hills',,,and at this point, you know you're in for something special. The second track is the title track 'Moonchild', a sad and lonely affair. The low whistle is the key instrument to this tale of somebody trying to make something of their life. 'Come the day when all this hate will rust and fade away' and 'Ride on Moonchild, far far away' add souch emotional beauty to this most epic of songs. This is easily the most breathtaking song on the album but it has to be heard live, like most of Celtus' songs to realize just how beautiful it is. 'Every step of the way' is another 'would-be' radio-friendly tune being the most pop styled song on the album. With a rip-saw bassline running through it and sing-alongable chorus this would have been a 'single' contender had any been released off this record. The only slight downside to this is that it lacks the atmosphere that is so prevalent in the other tracks but this, if you like, is a few moments of rest on this journey. 'Some kind of wonder' picks back up where 'Moonchild' left off, keeping you inspired by its varied beauty. You may have noticed that the word 'beauty' crops up a lot in this review but it is the best description of this wonderfully-crafted album. Some kind of wonder finishes with the instruments building up into a crescendo, then stopping before a long guitar sweeps gently back in. Simple, but amazingly emotive.

The saddest song on the album comes along with 'Brother's Lament', a traditional instrumental tribute written by John on his low whistle for their brother Tommy who died of leukaemia not long before. Very touching yet not depressing...uplifting in fact. Lifting the mood of the album comes 'Beyond the dark', about a love that shines beyond darkness; 'And nothing you can say will change a single thing. when words are not enough to explain.' This track, as with 'Every step of the way' lifts the albums mood preparing you for track seven which reveals the album's darkest moments, 'Love turns to dust'. The fact that this is probably the best song that's been written over the last ten years or so never mind just on the album will do little to express to you how good this song really is. It's about a relationship that's on the rocks and one partner is very insular whilst the other can't understand what's happened. 'Is there still a way for you and me? There must be a chance before love turns to dust.' However, it isn't the desperation of the lyrics that makes this song a cut above the rest, it's the musical arrangement. From beginning to end there is this wall of darkness created with a quiet yet slightly disturbing echoing drum beat that seems miles away...like war noises whilst the low whistle rises and falls besides Pat's guitar picks leading ultimately to an amazing lead solo that captures the desperation so obvious in this song. Truely outstanding. 'Rosa-Ree' is the story of the town where the two brothers grew up. 'I made my way back to the hometown, it looked just the same.' before emerging into the playground nursery-rhyme/nostalgia inspired chorus; 'When we played ring-a-ring-a-rosa-ree'. This song reveals the closeness and community of the town they grew up in. An obvious inspiration for their wonderfully friendly personalities and music. The alarmingly similar tubular bells intro and wishy-washy effects make 'The Pilgrim' the most ethereal song on the record. 'A new day dawns for the pilgrim'. This is a slightly more pop styled song again, with the emphasis on a good bass line and guitars. 'Trikuti' is the second instrumental on the album and although no where near as effective as 'Brother's Lament' is still a nice song. Beginning in a similar vein to track five but then turning into a slow paced melodic affair. This is the least outstanding track on the album but all is forgiven as the final track, 'We two are one' is introduced by a meloncholic piano which makes way for a big-beat epic finale. 'Side by side like a rose and thorn we entwine' sings John McManus as melodies keep his voice afloat. A truely monumental end to a truely monumental album. Epic may be clieche but here it is well and truely deserved.

At 56minutes and 33seconds this album oozes epic proportions and leaves the listener with the will to begin the journey all over again and again. This is the album's greatest strength and you will find that this album will grow and grow on you until you're hopelessly addicted.