Montreal guitarist
Erik Mongrain gained early recognition for a two-handed tapping technique that owed something to
Stanley Jordan, although
Mongrain performed it with the guitar in his lap. On his albums, of which this is the second, that method, which he apparently has abandoned largely, wouldn't be visible anyway, but he does demonstrate a tremendous facility as a player, albeit in a familiar style.
Mongrain owes much to his hero,
Michael Hedges, and to such other predecessors as
Leo Kottke. He mixes in harmonics and percussive tapping to create varied effects, leading to enjoyable performances. There isn't anything really new here, but guitar fans still mourning
Hedges' death may take comfort with this worthy successor.