[3] The release of this album with its fusion of classical, traditional folk and rock music, its mixture of instruments (cello, harp, electric guitar, traditional and modern drums) and its evocation of a utopian atmosphere and vision of humans in harmony with nature, immediately set it as a benchmark in the Celtic music revival of the 1970s.

[4] The album influenced many harpists, Bretons like Myrdhin [fr] or Cécile Corbel[5] but also Jo Morrison, Loreena McKennitt, Deborah Henson-Conant, Charles de Lint, Australian Robert Hart and Louisa John-Krol, Russian Anastasia Papisova [ru], Italian Vincenzo Zitello, Norwegian Kristian Nordeide, New York musicians Steven Halpern and Ben Kettlewell.

To call this music gorgeous and ravishing would be the height of understatement—indeed, there aren't words in the English language to describe this record adequately.

(Debussy wrote one of his finest works, "The Engulfed Cathedral," later adapted by the group Renaissance into "The Harbor" on Ashes Are Burning, based on the same legend).

The reflective "Marv Pontkellec" is every bit as sublimely beautiful, but the highlight of this record is "Gaeltacht," a 19 minute musical journey by Stivell's harp across the Gaelic lands of Ireland, Scotland, and the Isle of Man.