LIFT YOUR SKINNY FISTS LIKE ANTENNAS TO HEAVEN

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.

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