| 1.01 | Requiem For Dying Mothers, Part 1 | 6:37 | ||
| 1.02 | Requiem For Dying Mothers, Part 2 | 7:37 | ||
| 1.03 | Down 3 | 5:46 | ||
| 1.04 | Austin Texas Mental Hospital, Part 1 | 2:48 | ||
| 1.05 | Austin Texas Mental Hospital, Part 2 | 12:18 | ||
| 1.06 | Austin Texas Mental Hospital, Part 3 | 5:47 | ||
| 1.07 | Broken Harbors, Part 1 | 3:31 | ||
| 1.08 | Broken Harbors, Part 2 | 6:47 | ||
| 1.09 | Broken Harbors, Part 3 | 9:16 | ||
| 2.01 | Mullholland | 6:49 | ||
| 2.02 | The Lonely People (Are Getting Lonelier) | 10:05 | ||
| 2.03 | Gasfarming | 3:18 | ||
| 2.04 | Piano Aquieu | 10:56 | ||
| 2.05 | Fac 21 | 3:08 | ||
| 2.06 | Ballad Of Distances, Part 1 | 3:36 | ||
| 2.07 | Ballad Of Distances, Part 2 | 3:00 | ||
| 2.08 | A Lovesong (For Cubs)+, Part 1 | 6:45 | ||
| 2.09 | A Lovesong (For Cubs)+, Part 2 | 8:05 | ||
| 2.10 | A Lovesong (For Cubs)+, Part 3 | 7:45 |
Sounds ring out, starting like a symphonic swell, and ending with a twinkle of piano, or perhaps horns? As with previous SOTL releases, it's probably treated guitar, but to the blind listener it sounds like an orchestra reverberating through some vast space.
There must be something going on here between the tones. A sadness, perhaps more palpable than any other release I have heard. How these wordless, melodically sparse (at best!) can transmit such power is astounding, but maybe this is how it should always have been done - cut the bombast, enhance the message.