LIFT YOUR SKINNY FISTS LIKE ANTENNAS TO HEAVEN

There are times on this album in which one feels as if one is listening to an historically accurate portrayal of the malaise and disease of Industrial humanity as rendered unto music.

CD 1 (45:08) 1. "Gathering Storm" (22:32) the worst of the four, this one starts off slow, with annoying repetition, before congealing into a tension-filled volcano that erupts with a Kmart blue light special and post-apocalyptic crime scene. Interesting, to say the least. Engaging? Hardly. Compositionally, mathematically--as a study in modern counterpoint and dissonance--this might be interesting, but for someone who likes engaging melodies and harmonically pleasing music, listening to this is sometimes an exercise in torture tolerance and self-mutilation--for cutters and burners, not supporters of sanity and sanctuary. (37.5/45) - i) Lift Yr. Skinny Fists, Like Antennas to Heaven. - ii) Gathering Strom - iii) "Welcome to the Barco Am/PM..." L.A.X. 5/14/00) - iv) Cancer Towers on Holy Road Hi-Way

2. "Static" (22:36) The best of the four. (44/45) - i) Terrible Canyons of Static - great ALIO DIE-like soundscapes (10/10) - ii) Atomic Clock - industrial clock sounds - iii) Chart #3 - televangelist over Vivaldi (5/5) - iv) World Police and Friendly Fire - the longest section, very contemplative and floaty. Reminds me of Kronos Quartet/Mogwai's work on Clint Mansell's soundtrack for The Fountain (which came six years later) only it gets better in the second half (despite the Aerosmith "Dream On" climax). (19.75/20) - v) [ ...+ The Buildings They Are Sleeping Now] quite the atmospheric industrial post-apocalyptic soundtrack. Very Eno-esque. (9.25/10)

CD 2 (42:15) 3. "Sleep" (23:17) (37.5/45) - i) Murray Ostril: "...They Don't Sleep Anymore on the Beach" - an elderly man's recounting of the Coney Island of his youth - ii) Monheim - a sleepy piece of music turns more plaintively active around its halfway point and then frenetic in the final third while retaining the plaintive lead melody from the second section. (21/25) - iii) Broken Windows, Locks of Love Pt. III/3rd Part - opens delicately, slowly, as if pensively, before drums and layers of electric guitars are added. Feels more like a post-punk anthem waiting for its words/narration. The second half, with its second go-round of the build-and-crescendo formula is a little smoother, more rock conforming, with a much more "civilized" peak and Americana finish.(16.5/20)

4. "Antennas to Heaven" (18:58) a bizarre collection of what I'd call "Sam Shepard Scenes from Americana." It's interesting, at times fascinating, but overall not what I would normally choose for enjoyable listening music. Perhaps this hodgepodge of ... stuff would be better suited as background music for a podcast or Ken Burns documentary. (35/40) - i) Moya Sings "Baby-O" - ii) Edgyswingsetacid - iii) Glockenspiel Duet Recorded on a Campsite in Rhinebeck, NY) - iv) "Attention... Mon Ami... Fa-Lala-Lala-La-La... 55 St. Laurent) - v) She Dreamt She Was a Bulldozer, She Dreamt She Was Alone in an Empty Field - vi) Deathkamp Drone - vii) Antennas to Heaven

Total Time 87:23

I will offer my compliments to the BRIAN ENO/EDGAR FROESE/JOHN ZORN-like composers who were somehow able to realize their artistic vision in these musical renderings. What a tough road that must have been!

B+/4.5 stars; a major signpost in the development of the Post Rock movement but only a near-masterpiece in the grand scheme of the evolution of progressive rock music.