Hearing Budd's piano slowly fade in with the start of "Late October" is just one of those perfect moments -- it's something very distinctly him, made even more so with Eno's touches and slight echo, and it signals the start of a fine album indeed.

Acting in some respects as the understandable counterpart to Ambient 2, with the same sense of hushed, ethereal beauty the partnership brought forth on that album, The Pearl is so ridiculously good it instantly shows up much of the mainstream new age as the gloopy schlock that it often is.

Eno himself is sensed as a performer on the album, if not by his absence then by his very understated presence.

The merest hints of synth and whisper play around Budd's performances, ensuring the latter takes center stage.

Eno and Daniel Lanois handle the production side of things, their teamwork once again overseeing a winner.

When they bring themselves a little more to the fore, it still always is in the subtlest of ways, as with the artificially higher-pitched notes from Budd on "Lost in the Humming Air." Part of the distinct charm of the album is how the song titles perfectly capture what the music sounds like -- "A Stream With Bright Fish" is almost self-defining.

Another key point is how Budd truly captures what ambience in general can and does mean.

"Against the Sky" is a strong example -- it can be totally concentrated upon or left to play as atmospherics and is also at once both truly beautiful and not a little haunting in a disturbing sense.

Other highlight tracks include the deceptively simple title track, as serene a piece of music as was ever recorded, and the closing "Still Return," bringing The Pearl to a last peak of beauty.