Christopher Cerrone's Liminal Highway (2015) is one of those acoustic-electronic works where the two elements seem to converge. In fact, even an online video of the performance recorded here does not 100 percent resolve the question of who is playing what; the flute of Tim Munro has lots of flutter-tonguing and finger tapping, and when these are picked up into loops the listener is drawn into a dream world where sounds and shapes bleed into each other. The work's title and inspiration come from a poem by rock musician John K. Samson (of The Weakerthans) that evokes the feeling of "when you fall asleep in transit." The word "liminal" denotes an in-between state, a state of transition, which is uncannily evoked here. The work is in five movements in something of an arc shape that suggests a mental journey, with the second and fourth movements action-filled and more percussive, and the third opening out into a mind-expanding landscape of reverb. The first and final movements echo each other, with the work dying away at the end. This is a contemporary composition that can appeal to anyone, and it is an extremely inventive treatment of the interface between acoustic music and electronics.