This is an album made in celebration of the pedal steel musical instrument. Across eleven tracks and some forty-seven minutes, Steve Dawson creates a thread that links all of the ways in which this unique instrument can colour and augment a song arrangement. Usually, pedal steel is used in a supporting role to the song arrangement, but here, it is given centre stage in order to highlight its charm and versatility The lack of any vocals is something of a drawback on many instrumental albums, where the overall dynamic can suffer without the use of voice harmonics to add feel and tone. However, on this impressive album, there are no such concerns, with the superb production and the interesting variety in these ensemble-based arrangements. All the studio musicians are given the space to stretch out in their playing and in their individual interpretation around the song structures and melodies. In many ways, Phantom Threshold, continues the theme that was created on Telescope, Steve Dawson’s first pedal steel-based instrumental album (2008). Only Chris Gestrin on a variety of keyboards remains from the original studio musicians who played on that album, and his abilities across synthesizers, clavinet, wurlitzer, hammond organ, mellotron, moog, pump organ, farfisa and piano, is quite something. The rest of the band, (The Telescope 3),is comprised of Jeremy Holmes (bass), and Jay Bellerose (drums/percussion). The improvisation and the interplay across all the tracks is very impressive, and with Steve’s unique ability to vary the mood on the arrangements, we are treated to a really satisfying feast of rich sounds. Dawson is known for his impressive collection of unusual instruments and he certainly gets many of his favourite toys out on this new album, his second release this year, marking his versatility as an innovative artist and producer. Here, we are given an insight into his talent at play, on an array of instruments, including pedal steel, acoustic and electric guitars, mandotar, marxophone, national steel guitar, national tricone, baritone guitars, mellotron, ukulele and weissenborn lap slide guitar. Recorded at Steve’s Nashville studios, The Henhouse, with additional remote parts captured at various other locations, Steve displays his wonderful guitar technique on the closing track, Whirlwind, a solo piece that leaves no doubt about his musicality. Equally, the short track, Burnt End, has Steve channelling images of lonely prairies and open spaces as he delivers a haunting solo performance on pedal steel. Outside of these two tracks the remainder of the album is a real celebration of powerful ensemble performance. Tripledream is a highlight with the slow, dreamy arrangement, reminiscent of a Ry Cooder soundtrack, complete with some tasty cornet playing from guest, Daniel Lapp. He also contributes on violin to opening track, Cozy Corner, something of a synth layered tip-of-the- hat to the use of pedal steel in other musical genres. Fats Kaplin also guests, and plays fiddle and banjo on the title track, which has a slow tempo and brushed drums setting the mood. Kaplin also shows his versatility by adding accordion on The Waters Rise, and a fine example of how the pedal steel can intertwine with the rich sound of accordion. That’s How It Goes In the Relax Lounge is another dreamy arrangement, with a gentle sway and a Bossa Nova beat. While the funky bass and keyboards on the blues-based, Ol’ Brushy, includes some nice moments where the musicians let go and jam a little. All tracks are written by Steve Dawson, except for a co-write with Fats Kaplin (The Waters Rise), and a cover of the Beach Boys song, You Still Believe In Me (Brian Wilson and Tony Asher).  Once again, a very accomplished album from a very gifted musician and someone who merits inclusion in every discerning music collection.