Somewhere between the sonic landscapes of Dark Side of the Moon and the guitar-heroics of Bends-era Radiohead lies Mander Salis, the ambitious debut album by the arcane and obliquely named The Snake The Cross The Crown. At times invigorating and at others blatantly derivative, TSTCTC has latched on to the side-paneling of the ever-ascending Radiohead rocket along with other first-generation acolytes Muse and Clinic.

The majority of Mander Salis is Bends pastiche. TSTCTC parrots the album’s relentless guitar bombardment. “An Honest Misappropriation of Funds” and “A Gathering of Shades” could have been Bends b-sides, though laced with the jumbled electronica of future Radiohead releases. Though their primary influence is obvious on these tracks, TSTCTC emulates it’s heroes with songs worthy of comparison.

Mander Salis’ greatest appeal lies in its deviations. “On the Threshold of Eternity” and the aptly titled “A Brief Intermission” are exactly what the latter implies. Both are acoustic respites with from the other, more empowered tracks. “On the Threshold of Eternity” even flirts with country-twang on the lead as an organ drones in the shadows.

The album’s most noteworthy track however, is “Echolalia,” a portentous nine-minute, multi-part prog-rock voyage that forecasts the future of the band. Mander Salis, though not wholly original, is an introduction to a band that could do great things if they just ignore Thom Yorke & Co. for a few minutes. Recommended for fans of Muse’s Absolution.