He seems to be making a formalist argument (ala David Bordwell's concept of "parametric" film narration), but it doesn't really make sense if you try to apply what he's writing. That said: I'm glad about some of the albums he mentioned, actually (I squeeled when I read "The Dreaming"). That said: I HATED what he wrote about
Tusk. That album works as a coherent whole, and its wealth of artistic value is in every single track.
