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This compilation album draws on music that was recorded in the thirteen year existence of Magus (1987-1999) and also marks the existence of Magus as being just a vehicle for Andrew Robinson's music. In fact in the liner notes he adds that future Magus releases would be done as a collective band project rather than as solo material with guest musicians. Interestingly enough, many reviewers of Magus' work have always likened the work to that of Porcupine Tree. The link between the two band is strengthened further on this album via the artwork on the album which is by Russian artist Alexander Tsalikhin. Originally the image was designed for Porcupine Tree, but deeming their work as having become too commercial he let Magus use it instead!

The earliest track on the recording dates from 1987 and is called Waterfall. The track features a continuous ethnic-like rhythm, a feature that Robinson often incorporates into his music with prominence given to the bass run that forms the backbone of the track. The remainder of the track has some delicate guitar chords that blend in perfectly with the musical setting. Also included on the album is a 1988 recording, The Infinite (And The River Joins The Sea...Part 3) which is in a New Age style based mainly on a series of atmospheric musical layers with a delicate piano section. Next up is an unreleased direct to stereo cassette home demo, Incubus, from 1991 and is a synthesised instrumental very much in an Alan Parsons Project style. One has to admit that APP seems to have had quite an impact on Andrew Robinson's musical formation.

There are two tracks that were recorded in 1992, Until The Sun Burns Out (Part 1) and She's The Lady. Until The Sun Burns Out would eventually end up on Magus' 1997 album Traveller, and features a steady space-rock riff together with an overall ambience that makes the track one of the album highlights. This original version of She's The Lady is a sharp contrast to Until The Sun Burns as it features just an acoustic guitar and vocals. Though Robinson rarely sings on his tracks, he possesses a fine voice which blends in snugly with the acoustic setting.

Sandman is the first track, chronologically speaking, that shows Robinson fusing the electronic/atmospheric layerings together with an APP approach. This version is a remix of the original and it is indeed one of the better tracks on the album. The Earth's Sharp Edge on the other hand has a curious mixture of Gilmour-like guitar work coupled with a very eighties sounding keyboard sound while the remix version of Traveller is a much colder version than the original. It seems as if the main guitar work has been gated out of the track leaving the cold icy keyboard sound to come to the forefront. Many times when one hears of a remix, there is little changed, however Robinson manages to create a whole new work when he remixes his music.

Spanish Waters is a musical adaptation by Robinson of the poem by the same name by John Masefield (1878-1967) that has a similar structure to Traveller. Whereas in Traveller the chords were played out on a keyboard, this time they are played on an acoustic guitar with vocals added in. Unfortunately the track suffers from a monotony that is very uncharacteristic of the Magus work. The same riff is kept for the whole of the track with nothing or little happening in between.

The lengthy Rif is considered one of the main pieces of work from the Magus repertoire and originally appeared on the Traveller album. Only the final four sections, out of an original seven, are presented on this album though this does not detract from the fact that this track is a progressive rock classic.

Both Messiah (Arrakis-Dunbe-Desert Planet, Part 2) and Highway 375 (revisited) featured on the Highway 375 mini album while The Last Flight Of Saint-Ex is the last new track to appear on this album. Once again we have an instrumental that combines some delicate guitar work with an atmospheric backdrop. In fact Robinson always manages to subtly introduce that characteristic sci-fi sound into his music.

The album should serve as a worthy introduction to the music of Magus, and furthermore should also prove interesting to those who already own the Magus albums as many of the tracks appear in a remixed format to the original.