CHORDAE TENDINEAE

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.

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