This is the debut solo-outing by In Gowan Ring frontman B'eirth, although only "solo" in the sense he is without his regular band, instead joined by several collaborating musicians. Granted this is a definite departure from In Gowan Ring's medieval rooted wyrd-folk, taking on a decidely more rural ambience, although don't be too shocked by it's billing in some quarters as a work of country-pop, as this is still B'eirth in that unforgettable singer-songwriter mode we have all grown to love and treasure. The album begins with "Birch Bark" a forest folk instrumental built on layers of tense string plucking, atmospheric piano and galloping finger drumming. Next track "How the Hours..." is one of my favourites on the album, a sublime-blend of acoustic guitar, jaw-harp and B'eirth's warm and intimate vocals that are simply stunning in the chorus with their multi-tracked harmonies. This opening vocal performance is typical of what is to follow on the rest of the album, in its effortless yet deeply contemplative delivery. This is the sound of a young artist with a maturity and self-assured confidence way beyond his years, taking time out from his usual repertoire, stretching out and flexing his artistic might with grace and skill. "Five Hundred Keys" is a laid back country-tinged ballad, all slide guitar and harmonica, and probably something Mazzy Star would have been very proud of if it was theirs. "Easier To Live" continues in a similar vein, a timeless piece of Americana with some very memorable harmonica. "Coffee Morning" is another stand-out track again continuing the rural country folk theme, but this time adding a beautifully haunting gospel vocal backing that drifts in and out as it replies to B'eirth's lines, this is simply stunning. "Eglantine" is a mystical psychedelic guitar instrumental with a building tension under the raga-flourishes as the track progresses, and graced with distant echoed harmonica. "Train To Rome" and "Leaf Patches On Sidewalks" sees B'eirth back with contemplative ballads to a loved-ones. "Sleepless Search" is another stand-out and personal favourite, a deeply moving, melancholic piano and acoustic guitar backed ballad of questions, contemplation and looking back on lost love. Had the album ended at this point the sheer emotional power of this track could be enough to move the most thick-skinned listener to shed a tear, instead B'eirth, and I guess, knowingly diverts our attention with a decidely more uplifting example of his balladeering on "Warm Wind And Rain", the chorus of which has an almost anthemic quality. "Windows" the penultimate track of the album, is quintessential In Gowan Ring, maybe this is B'eirth reminding us what it is we originally loved about his work as if somehow we've become drawn in and lost to this newly revealed facet of his persona. Again "Windows" is another personal favourite. This is B'eirth's protagonist in the autumn year's of his life, sat at the window of his croft looking out across the bay to the sea and isles, reflecting and summing up life's haves and have nots, dids and did nots, using the backdrop of a timeless unchanging Celtic landscape to somehow put the sum of his life's achievements into perspective. The album closes with a reprised "Birch Bark" to complete the loop, and make hitting that repeat button all the more tempting. "Birch Book" is undoubtedly a personal favourite release of 2005 and for my mind a master-work of contemplative genius by an artist at the peak of his songwriting powers. (18/9/05) -Simon