On track three, Fahey immediately launches into an arpeggiated discordant
background loop...I mean it flows like an underwater brick.  The track is
somewhat appropriately titled, "Eels."  The theme floats and then drowns on
itself, only to come back to life minutes later.  Following that, Fahey
approaches the song with a slide guitar solo that seems to be played as slow
as it...is, perhaps backwards.  Underneath the mass, there plays a rhythm
section composed of found bells and other metallic structures.  This is a
nine minute piece.  It is nothing short of beautiful.  Fahey's
improvisational drunken style on this track leaves me senseless.  Rolling
on, the track, "Sharks," slowly comes to life as an Ennio Morricone
spaghetti western throwaway...with reverb.  Fahey, gently toys with western
& Spanish themes, alone in a recording studio that makes itself sound like
the Grand Canyon.  Jim O'Rourke's (producer) touch is noticed here with
certain mechanical noise drones near the end of the song.  "Coelacanths"
presents itself immediately with a cartoon-like background structure, and
Fahey, again, delivering a found slide performance.  On the finishing track,
"Juana," Fahey successfully plays a folk tune in the style of the
attention-deficit-disorder crowd.  The technique, and notes are there, but
the timing is intentionally disregarded, almost as if someone is holding a
gun to his head, telling him to hurry up and finish this twelve and a
half-minute song.  It's beautiful.   Buy this album, now.

My thanks go to "Davis Ford" <forddavi@pilot.msu.edu> for this lame review.
                                                                                                     -  Melissa