The opening song is provided by Irfan, whose "Simurgh" fits the Prikosvenie mission statement perfectly. It's beautiful, even if this beauty is transient. It evaporates when the song ends. It would be interesting to hear a whole album by the Bulgarian band as they sound like a group that specialise in moods, rather than tunes you can hum. Maple Bee's "The Messenger" is slightly more direct, but still sounds as fragile as a cobweb weighed down by morning dew. So far things are pleasant enough, but nothing startlingly different from other 'heavenly voices' compilations. The arrival of Onze H30 upsets the apple cart. Music can often transport the listener to another time and place, rarely am I taken to a weekend I spent in Paris in 1992. Onze H30 sound distinctly French in their use of accordion and jazz trumpet. If Shirley Manson was Gallic this is what she might sound like. Credit to the compiler of this album is due, despite the disparate styles so far, the transitions haven't felt jarring. Next is Amadou Sanfo an African/French singer, who apparently marks a new direction for the label. I'm not a huge fan of male voice and acoustic guitar, but Amadou shares the laid back charm that has brought Jack Johnson such success, so I wish him well. I wonder if he likes to surf?

While panpipes will always remind me of Croydon High Street rather than their country of origin, their use by Secret Vibes works well in their brand of tribal trance lounge music. Listening to this compilation is like listening to a late-night radio station with an eclectic play list. Everything takes a surreal edge in those hours when you should be asleep. A world is created where the normal rules don’t apply. Antrabata's trip-hop groove offers little new, but if you like Morcheeba's style then you'll enjoy the easy feeling of familiarity. Mediavolo recall Indie loves of my past. They aren't as floaty as Slowdive, nor as fiery as Lush but they still pack an emotional punch, with "How Does It End" climaxing satisfactorily. With a song title like that they didn't really have any choice but to end it well did they?

Hallucinations offer "Come Back Please (Live)", but sound too much like Fairground Attraction to impress. I'm no enemy to the world of twee, but even I baulk at works like: 'Come jump right over the shed, 'cause it feels so good, feels so nice, nice, nice, nice.' Luckily the breathy Sharon Lewis is next with "Leaving On A Ship" which is enough to dispel any feeling of nausea. The piano-led song has the sound of Black Box Recorder, if they wrote from an emotional point of view rather than intellectual – and read more self-help books. It's the best song about being on a ship in the English Channel since A-Ha's "Soft Rains of April". There's something equally intriguing and disturbing about Pinknruby's "Nocoj". The female vocal is haunting, but this is no benevolent spirit. It's an intriguing piece of music - those stout of heart should investigate further. I think I'll just get comfy behind this sofa thanks. Never having heard either Moon Far Away (who provide the song) nor Lys (who provide the remix) I'm unable to tell you what role each group play during "Na Zore (Lullaby)". Can you imagine if those people who drive around in cars with a pumping bass got into ethearal/heavenly voices music? This is the sort of thing they would play. Not really my cup of tea, but impressive in its own way.

Demonia Nymphe's "Daemonos" is a highlight from their recent album Krataia Asterope. It has a sense of urgency, mixed with Dead Can Dance-style atmospherics. The female vocals are haunting. The male vocals are insistent. Stories of long ago are invoked and I'm enchanted afresh every time I listen. Highly recommended. I am jolted from my historic reverie and brought right up-to-date with the electro-rock of Misstrip's "Mothers-Of-Pearl". Maybe I'm suffering from time-travel lag, but this song doesn't gel for me. The medieval sound of Artesia's "Entrelacs" has me hungering to hear more. It's instrumental and less than two minutes long, so I suspect there's much more for me to discover. If I ever come into possession of a manor house, with a roaring fire with a pig roasting above it – though of course it will be made of Quorn – then I shall hire Artesia as house band. You are invited to the banquet of course.

Collection D'Arnell Andrea's "The Long Shadow" is also a highlight from their recent album. The mix of droning violins, fragile female vocals and driving rhythms enchant me every time. Antrabata's "White Elephant" is far more impressive than their previous song on this compilation. Largely flute-driven it is evocative of distant lands. If you are willing then this song will transport you there. If you've listened to as much Jethro Tull as I have then Ian Anderson will be accompanying you. Whether or not this is an attractive idea is for the reader to decide. Czech violinist Ivo Sedlacek offers us a violin-led track, "Akasha" which is too busy for the meditative or relaxing purposes suggested by the record label. Something of an acquired taste, if the extent of your fiddler fancying is Ed Alleyne Johnson (New Model Army) or Martin Bell (The Wonder Stuff) then this might take you down roads that eventually lead to a city called Jazz. At this point I must bid you farewell, this is a journey you must make alone.