Progarchives, the progressive rock ultimate discography
The Pneumatic Transit - Chordae Tendineae CD (album) cover


The Pneumatic Transit


Jazz Rock/Fusion

3.62 | 47 ratings

From, the ultimate progressive rock music website

3 stars Interesting and, at times, creative song constructs of proficient instrumental dexterity ranging between KING CRIMSON and TOBY DRIVER, MARK ISHAM and FROGG CAFÉ.

1. "Atriums" (12:55) opens with sustained horn note before intermittent synth-orchestral sounds are interjected. Forty seconds in three guitar tracks begin forming a weave which is then joined by/alternated with multiple key tracks. A little ALICE IN CHAINS like in terms of sound and bale. More technically demanding section begins at the end of the fourth minute, leading into a high octane THIN LIZZY-like instrumental foundation over which R.FRIPP-like guitar ramps and pillages. The TOBY DRIVER similarities increase as the song swings between rock and space, power and high-potential calm. A little MOTORPSYCHO feel and sound creeping into the second half allows multiple guitars to mimic THIN LIZZY's twin towers. At the eleven minute mark the music bursts forth into a K.CRIMSON-influenced LED ZEPPELIN section. (20.75/25)

2. "Casino Mouse" (13:07) kind of a KING CRIMSON meets MONOBODY and FROGG CAFÉ/ FRANK ZAPPA horns. Enough said! (21/25)

3. "Residual Sentience" (9:46) opens like an old MARK ISHAM soundtrack for the first 2:25. Then a Math Rock Crimsonian burst signals a switch to a variation on the opening weave in which screaming guitar and synths add their voices in slowburst soli. At 4:50 an electric guitar noodles in as if it's a totally different song and lo! and behold! it is! There is a total shift in tempo, style and sound (thought there is some slight residual of the opening left in the pace and background weave). Guitar and Moog-y synth exchange soli before settling into a weave so that the drums can show off (Not very impressively, I might add). Then it all breaks down for a slow gentle ISHAM outro weave for the final 1:15. (18/20)

4. "The Fountain and The Feather" (12:44) roaring out of the starting blocks with torrential speed from the guitars, things calm down around 0:40 so that Moog-horns and electric guitars can install a nice, catchy melody. In the third minute syncopated pulses play while guitar continues a kind of TED NUGENT "Stranglehold" display of free form guitar. Another stripped down section in the fifth minute leads to a kind of MARS VOLTA section before a Rhodes piano solos. (It doesn't fit--though I've seen Brian Auger do this same thing at a blues festival!) At the beginning of the seventh minute occurs another stop which is filled with a single synth note before an electric piano arpeggio is established--which is then joined by the rest of the band until 7:40 when a continued stripped down Rhodes arpeggio section supports some flashy drum and guitar soloing. A little bit of Carlos Santana's guitar sound is played in a style that is reminiscent of both Robert Fripp and FROGG CAFÉ's Frank Camiola. This plays out to the song's end. Pretty awesome guitar pyrotechnics! (22.5/25)

Total Time 47:52

Very creative compositions and guitar play but the drumming is a weakness.

Four stars; an excellent contribution of refreshing instrumental music to the progressive rock lexicon.

BrufordFreak | 3/5 |


As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password


Social review comments () BETA

Review related links

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | RSS + syndications

Other sites in the MAC network: — jazz music reviews and archives | — metal music reviews and archives

Donate monthly and keep PA fast-loading and ad-free forever.