David Helpling is one of those artists whose name I often heard in the context of the New Age music genre, but whose music I didn't. The California based guitarist and keyboardist, recording artist and film composer specializing in ambient music and electronic music has been releasing music since 1996-97, and his latest work 'IN' is a double album of massive proportions. Conceived and composed over ten years, ironically 'IN' was born from finding wonder in the tiniest of places, more concerned with the microcosm than the macrocosm.

The first thing you will notice about 'IN' is how spacious it sounds. Whatever techniques Helpling is using to achieve this work remarkably well. There is a sense of the symphonic without orchestra. Over all, the music is pretty, even gorgeous at times, with almost a faerie-like sheen. That's not to say the music is twee or maudlin; there is plenty of substance here. Some of the highlights include Nidhi Bhatmuley's soaring wordless vocal on "This Burning Sky"; the enchanting melody of "Still As Stone"; Benjy Wertheimer's elegant Esraj (Indian bowed string instrument) playing on "The Bliss You've Always Carried"; Miriam Stockley's wordless vocal on "Slipping" and "I Too Am Coming Home" (heading into Delerium/Conjure One territory), and Matthew Schoening's enchanting electric cello on "You Are Already Here."

The real star of the show though is Helpling who provides the concept, arrangement, instrumentation, majority performance and organization. Playing against its concept, 'IN' is a tremendous album that sounds huge, even when something as simple as a kalimba ("Following The Lines") shows up. Melodies are simple but effective, allowing the ambience to carry most of the weight. Most of all, Helpling imbues 'IN' with a sense of grace that is sometimes lacking in this genre. Flawless recording and mastering (nod to Howard Givens) makes this a superb album. 'IN' may be New Age, but it is likely the best New Age you've heard in a long, long time. Recommended.