Ever have a dream that's so disjointed and random, all the drinks the night before could not provide a sufficient explanation?

Ever enjoy it regardless?

Mogwai, a collection of Scottish art-rockers, take music and give it such a spirit of spontaneity that every CD carries through like a never-ending dream mourned after upon awakening.

Shaping its style over the years, Mogwai finally portrayed itself best with the 2001 release Rock Action. A mere eight songs, the CD takes listeners through a road trip of sound -- past the rolling hills of genuine instrumentation, over the winding brook of tenuous ballads and up a triumphant hill of crescendos.

Compared to its critically-acclaimed 1999 release Come On Die Young, Mogwai demonstrated a dexterity far beyond that of typical guitar rock. The band still holds true to its style of mostly instrumental songs, with some exceptions.

However, where previous albums focused solely on erratic distortion mixed with poignant guitar melodies, Rock Action features a whole new approach to creating emotion through music.

The whole musical epic begins with an almost robotic feel that echoes through the entire album.

"Sine Wave" enters slowly with a heartbeat bass line and a pulsating mechanical sound that may be heard in some cold, futuristic factory.

This segues into "Take Me Somewhere Nice," which probably gives the listener the closest thing to a recognizable song -- i.e. verse, chorus, verse -- on the entire CD. With David Pajo singing, the slow hymn to a night sky draws in an eager ear and lulls an anxious spirit with a slowly oscillating string section.

"Dial: Revenge" shows a side of Mogwai that fans had not seen before -- acoustic guitars. Tinged with the vocals of vocalist Gruff Rhys, the song slows the pace of the album for a bit but keeps the pathos strong.

Perhaps the most impressive song on the album appears toward the end of the album with the track "2 Rights Make 1 Wrong."

Beginning with a simple guitar riff that tangles itself throughout its nine-minute duration, the song aurally evolves itself right in the presence of the listener.

First, it begins as passionate rock song, then slows to a pensive, banjo-assisted waltz and finally provides a climax not really climatic, when two voices harmonize in the end until all is cut off by a dissonant buzz that kills all sound.

In the end, though, beyond the head shakes and the raised eyebrows that may come after trying to comprehend this work, it will all prove worthwhile. And maybe from now on, weird dreams will be a welcomed occurrence, as will listening to this masterpiece of modern, experimental rock.