THE ABSENCE OF PRESENCE

FIRST REVIEW OF THIS ALBUM

In 2011 a dream came true when I finally witnessed my first Kansas gig, since I became a Kansas fan after buying their first two LP's in 1975. I was also pleased with their comeback album The Prelude Implicit from 2016. So how about this new Kansas album, with only two founding members (Williams and Ehart)?

Well, the start is very promising with the dynamic opener, the titletrack: lots of shifting moods, the exciting Holy Trinity of keyboards, guitar and violin, this is trademark Heavy Prog Seventies Kansas, wow! The second track is also exciting featuring an ultra bombastic and heavy sound with powerful Hammond waves and blistering guitar, the singer does a good job. But then the compositions turn mainly into AOR, with some prog tendencies, very well arranged, featuring strong interplay, excellent work on guitar, keyboards and violin, the singer his voice matches perfectly with this AOR friendly Kansas sound, but I miss the elaborate and captivating music from the first two tracks.

Those who love the AOR side of Kansas will be very pleased with this new Kansas album, but I am glad I have seen the band in 2011 (featuring the versatile Steve 'Mr Kansas' Walsh), this new Kansas is not really my cup of tea.

Even knowing the band for more than 30 years I never have been a great Kansas-Fan. But somehow THE ABSENCE OF PRESENCE caught me right away. I can't stop listening to it since it was released yesterday. I have the greatest respect for bands that can be faithful to their roots and sound fresh and new at the same time. And this after 45 years. Great technique meets great melodies. David Ragsdales violin parts are incredible. Everything fits, keyboards, violin, drumming, vocals (and chorus), actually the whole production as well as the cover. And for me, for the the first 4 song of the albums, specially Propulsion 1 the album is a Symphonic-Prog masterpiece. The fifth star was lost somewhere in the second half of the album. But nevertheless, I am listening to it for the tenth tine now (and counting)

EDIT 10/23/20: I'm moving my rating from 4 stars to 3 stars, after the initial wave of excitement when this album came out it unfortunately doesn't do too much for me and I find the Prelude Implicit to be a much better effort. While I still think this a good album, it suffers from a very loud and compressed mix and a very poor sounding snare. I also feel like the title track, especially the middle jam is very underdeveloped despite some great moments. With all that said, I'm glad Kansas is continuing the make inspired music, leaving original review up.

This is the second album released by this new incarnation of Kansas and I really admire that they aren't trying to just emulate their 70s heyday albums and cater to nostalgia. This to me sounds like a band genuinely progressing and creating their own original musical path and sound. The addition of Tom Brislin on the keys is a potential game changer for the band in this later stage of their career, his parts and variety of keys used throughout the album are awesome and really well developed. Even when the keys aren't at the forefront, there's always some subtle playing going on in the background to pick up on with repeated listens. Tom Brislin playing is a lot more front and center than Dave Manion whose playing was a bit more subtle on the previous album "The Prelude Implicit" (which is an album I dearly treasure as well). As far as the sound of the album goes, I think the production is generally good, you can clearly hear every instrument and every member is dialed in, but I think the album is a little too loud and I think the double tracking and vocal effects are used a bit too liberally. Ronnie Platt has an excellent voice already and he doesn't need his voice edited like it sometimes is on this album, my favorite parts from him are when he's just singing without any kinds of harmonies or effects on top of it. However, many of the modern production flares used are very welcome and they're helping Kansas move and progress into this sort of reinvention of themselves. Ragsdales violin playing on this album is seriously incredible, easily his greatest studio performance with the band and I really think him and Brislin are the stars on this album. While I say that, nobody ever sounds like they're just phoning it in, all the instrumental parts sound essential, they're well developed and generally nonlinear. You can just pick any instrument to focus on and chances are the parts are pretty interesting on their own.

Anyways, the album opens with the excellent title track which is just majestic as we're guided through this soaring introduction with great melodic interplay between the synths and violin. The kick in at the 2:00 mark just lifted me off my feet the first time I heard it. We're treated to a nice jam in the middle which for my money, could've been extended or developed more by a couple minutes, but no complaints here. The song ties everything back together with a beautiful flowing ending. Awesome title track clocking in at around 8 minutes, i'll be listening to this track for years to come. The same can be said for the second track "Throwing Mountains" which showcases some extremely strong songwriting and I think it has Platts best vocal performance. It's gotta be one of Kansas's heaviest songs with what I wanna say are subtle hints of Dream Theater and prog metal. It really gets me pumped and fired up with its heavy riffing, nasty violin soloing and generally motivational and driving lyrics and sound. Jets Overhead is a bit more straightforward but still has some excellent violin work and melodies. I almost get Beatlesesque vibes when the verse kicks in. I think this song could have developed and deviated from its path a little more though, especially in the drumming which I think is a little too steady throughout. I really love the main violin melody, especially when it interplays with the synth and I really wish they built something off of that. Good song though. Next is the short instrumental "Propulsion 1." This instrumental is great, probably Phil Eharts best performance, the dude even uses a double kick! Brislin, Ragsdale and Ehart are just firing on all cylinders trading off parts creating one firey and proggy instrumental. From 1:00 forward I was just grinning ear to ear, I wish it didn't end so soon cause I feel like it there was still plenty of room to build off this. "Memories down the Line" is a pleasant ballad with some nice melodic instrumentation in the later half. "Circus of Illusion is a pretty neat track with the violin bringing uTin followed by some really cool guitar effects. I'll once again use the word "Majestic" to describe this track, I really like where the song goes in the second half especially. "Animals on the Roof" is another more driving and twisting song with some excellent organ and key work. This is one of the most progressive songs and easily a highlight of the album with some great lyrics and instrumentation. I love the headbanging jam it kicks into around 2:30 mark. The next song "Never" is the one track i'm not super in to. It's a somber sounding ballad and I just don't think this style has ever been Kansas's strong suit, not every song can be Dust in the Wind. Not offensively bad, it just doesn't do anything for me. However, the closing track "The Song the River Sings" is awesome and another highlight for me. It opens with this mysterious intro and it leads us into the main riff which I really dig. Tom Brislin actually sings lead vocals here and he really does a very fine job. I actually think the rhythm section on this song is very notable, Billy Greer has a really nice bass solo in the middle and in the drum parts are really well developed. However, the song sort of fizzles out with that same mysterious vibe it opened with and it strips down to just some quiet piano. The last two minutes of this song are just nasty, the piano starts building up with this filthy riff and every other instrument successively joins in with a bunch of effects layered on top of it ultimately creating this awesome and heavy playout. I've never heard Kansas do anything like this, it ends up just cutting out "I Want You Shes so Heavy" style and its a shame, cause I wish that kept going on for a couple more minutes.

Conclusion: I'm really enjoying this album and I really hope we get at least one more Kansas album from this lineup. It seems that the band wants that too, and besides, they're atleast gonna have to make a Propulsion 2! Right?!? The band is clearly getting better and realizing their new identity and I really think with Brislin on board if they can just completely dial it in, continue expanding and trying new things, and continue writing adventurous songs like the title track, they're capable of making a classic and a 5 star album. Until then, this awesome release will hold me over, i'm enjoying it more and more with each listen and i'm just happy that Kansas is making new and very inspired music at this stage of their career. Also, this cover art is such eye candy.

4 Stars

"We still stand out. It's the way since the days of our youth. The strangest sight. Like animals on the roof"

America's best band is back with a new record! The line-up is almost the same as on the previous The Prelude Implicit, with one important exception: the addition of keyboard player Tom Brislin. Having previously performed live with Yes, Camel, and Renaissance, Brislin has now joined Kansas. That means that he has played with four of my all time favourite bands! I already knew that he could play, but Brislin surprises everyone here by contributing his own compositions and lyrics to many of the songs on The Absence of Presence, and even sings lead vocals on one! Kansas are really lucky to have landed Brislin.

The rest of the band are in top form as well, with vocalist Ronnie Platt and producer/guitarist Zak Rizvi, both of whom joined the band for the previous album, now having settled firmly into the line-up. Violinist David Ragsdale, who first joined the band in the early 1990's, performs better than ever, and Billy Greer, a member since the mid 1980's, is still going strong. Drummer Phil Ehart and guitarist Richard Williams have of course been there since the beginning. As a collective, these seven men carry the great legacy of Kansas into the 2020's.

The Absence of Presence is a stronger album than The Prelude Implicit, the latter having failed to impress me much even though I do like it. Rizvi is again responsible for the bulk of the music, while Brislin provided most of the lyrics. Brislin is the sole architect behind Memories Down the Line, The Song the River Sang (on which he also sings lead vocals), and the instrumental Propulsion 1. The latter is one of my favourites on the album together with Jets Overhead and the eight plus minute title track.

Let's hope for a live release next, preferably a live video, as I would love to see this line-up in action playing these new songs live mixed in with classics from the history of this great band.

When 'Somewhere To Elsewhere' was released in 2000, with the classic line-up reunited for the first time in years (plus of course long-time bassist Billy Greer), I was hopeful we were going to see a new beginning for one of the most important bands ever to come out of America. Yet while that album was a huge success, and beloved by all fans, it was not meant to be, and it was a long sixteen years until their next release. By that time there had been significant changes in the band, not least being singer Steve Walsh retiring and main songwriter Kerry Livgren again not being involved. But Phil Ehart (drums), Billy Greer (bass), Rich Williams (guitars) brought back violinist David Ragsdale in 2006 (he was of course in the band throughout the 90's), plus new singer and keyboard player Ronnie Platt, rhythm guitarist Zak Rizvi and additional keyboard player David Manion. Now, just four years later and we have another new album, and while Manion has departed he has been replaced by Tom Brislin who has played with the likes of The Syn, Camel, Yes, Renaissance and Anderson/Stolt so definitely comes in with plenty of pedigree.

The album commences with "The Absence of Presence", gentle piano is joined by plaintive violin, and then just 25 seconds in we are in full Kansas territory and if it as if they have never been away and that it is the classic line-up all over again. By a minute into the album I had a massive smile on my face, and when the song became just piano and vocals, plus plenty of harmonies, I was grinning from ear to ear. I have no idea how long I have loved this band, but it is well over 40 years, and it was almost like listening to one of their classic albums from the Seventies for the very first time. It seems almost as if the guys have decided they need to stick with a Kansas style, as opposed to move it in any different direction, so the result is something which is both immediate and very enjoyable indeed.

I am sure I will never see this band in concert, as we rarely get groups like this down to little old New Zealand (although Yes have made it twice), so I will continue to play the DVDs and albums, and while there are some from their middle period which rarely make it onto the player, I am confident this one will continue to do so for years to come.

Now that's what I'm talkin bout!!!

I have been a massive Kansas fan since their beginnings. I can still remember putting on the first album on my turntable as a 17 year old closing my eyes and letting "Journey From Mariabronn" take me on a journey along with "Apercu" and "Belexes." I was hooked quickly and all the way through "Point Of No Return" they dazzled. As I pointed out in my past review of "Monolith", there is that time when a band starts drying up and losing its creative edge and that album was the start of the decline.

Don't get me wrong, that record, "Audio Visions" and Vinyl Confessions" had some good moments but not the caliber of their first 5 albums. "Drastic Measures" was too drastic and after Steve Walsh returned, his 3 albums were really lacking but since the songwriter who really defined Kansas was missing along with Robbie's voice and violin, it just isn't Kansas.

Fast forward to 2014, Walsh having had serious voice issues for many years and lacking desire retired as he had reached the end of his rope and I cannot blame him. He was the reason that no new studio albums had been released since 2000's reunion "Somewhere To Elsewhere" which honestly was a disappointment to me but maybe my expectations were too high. According to Rich Williams, Steve didn't see why they should record and as Rich stated if one person doesn't want to record you cannot do it.

So when Steve left this opened the door to "Prelude Implicit" in 2016. I had expected to not hear Kansas and wondered why they would do an album but I was pleasantly surprised by it. It was a pretty decent album but not spectacular. Rich had also stated that they weren't just a bunch "of old farts" doing one last gasp; they intended to record another album after "Prelude." So when they decided to go back into the studio I thought we would see something similar to that album.

Hold the press!! Oh, Em, Gee!!! I was in shock hearing this album as it rolled through the tracks. No, not every song is a zinger but no Kansas album hits on every single tune. I am a firm believer that you cannot recreate a band that has lost so many key members. But what happens when you only recruit people who are excellent and proficient musicians who love Kansas? You get "The Absence Of Presence."

I have always liked Ragsdale and he fits Robbie's shoes on the violin very well and he Billy Greer have been part of Kansas a lot longer than Dave Hope and Kerry Livgren were. The sound is classic Kansas at its best and no other group of that era sounds closer to the original than this set of guys.

So after babbling on about all this, what about the tracks? The title track starts out very well and the vocal harmonies work well. "Throwing Mountains" tears it up great and with the solos in the middle it kept me surprised. After you hear a band their songs become predictable and there are less surprise hooks but this album has many. "Propulsion 1" is one of my favorite tracks not just on the album but in the Kansas library. This one screams classic! It is a great kicking instrumental. "Circus Of Illusion" has a few surprises on it as well. The start of "Animals On A roof" reminds me of something on "Leftoverture" and it is also a strong track. The final track, "The Song the River Sang" was a great way to end this jewel and is my favorite vocal track.

My only issue with the band is the lack of a clear second vocalist like Robbie. Greer does a good job but the wider range would be better. But if that is the worst part, I can live with it. I cannot imagine these guys following this up with anything better but I could never have guessed this would be so good. They only have Ehart and Williams from the glory days and they aren't really songwriters. Brislin, Rizvi & Platt wrote this music and it is obvious they have that Kansas blood. The instrumentation is amazing and nothing less than astounding. Phil's drumming never ever is anything less than stellar.

This album has so many great moments that I have to rank it just behind their first 5 albums. I liked it better than "Monolith" and "Audio Visions" and that is saying a lot! Sadly Rizvi dropped out after the tour and Kansas really does better with a dedicated 2nd guitarist and he did some great solos. Rich Williams is a great guitarist but solos are not his strong suit and Ragsdale is just a rhythm player. They have lost one of their songwriters so if they do another one hopefully they hang onto Brislin and Platt and add a new lead guitarist.

Today we'll be taking a deep dive into the most recent release from American Prog-meisters Kansas. First a little background. In the year 2000, the band released "Somewhere to Elsewhere," which was essentially a reunion of the classic 70s line-up of the band, with longtime bassist Billy Greer on board as well. Kerry Livgren and Dave Hope, did not remain as full-time members of the band, with Livgren making occasional guest appearances. In 2006, Robbie Steinhardt (who sadly passed at the age of 71 in 2021 from pancreatitis), their legendary violinist and second lead vocalist left the band, and he was replaced by David Ragsdale, who had been in the lineup in the 90s prior to Steinhardt returning to Kansas. Singer/Keyboardist Steve Walsh remained as the only primary songwriter in the band at that point, and he only wanted to play live, and no longer record albums of new material. He remained in the band until 2014. Meanwhile the other 4 members including 2 original members (Phil Ehart-drums, and Rich Williams-guitar), along with bassist Billy Greer and violinist David Ragsdale decided to become a side project under the name Native Window who released (as far as I can tell) their only album in 2009. While the band continued to perform live, it wasn't until Steve Walsh decided to retire in 2014 that the way was paved for Kansas to begin recording again. Although the band initially approached singer John Elefante, who took over on vocals from Walsh in the early 80s, he politely declined the invitation. Not long after, it was announced that Ronnie Platt, who had been singing with the band Shooting Star would be the new singer and keyboardist, and only a couple of weeks after that, keyboardist David Manion, who had been Kansas' lighting director and played keyboards in Billy Greer's side project, Seventh Key, would also join. In 2015 this new line up was signed to Inside Out records, a German label who specialized in signing prog bands. In February 2016, the band announced that they were recording a new album to be released in September of that year, titled, "The Prelude Implicit," which I also intend to review. During the recording, the band hired the album's co-producer and co-composer Zak Rivzi to join as a guitarist. Returning the band to a 2-guitar line up for the first time since 1991 when Steve Morse left. This made the band a 7-piece with Platt, Williams, Ehart, Greer, Ragsdale, Manion and Rivzi. This line up stayed pretty much intact except for David Manion leaving in 2018, to be replaced by prog-veteran Tom Brislin, who, among others, toured and/or recorded with Yes, Camel and Renaissance prior to joining Kansas. It is that lineup that is on today's album. I have heard and "liked" at least 6 of the 9 tracks on this album. Without further ado, let's see what this 21st century version of Kansas can do.

Track 1 - The Absence of Presence

The title track is probably the one that I am most familiar with. It is also the longest song on the album at 8:22. We begin with a few staccato piano chords before Ragsdale joins first on violin, followed by the rest of the band.. The grand opening section really harkens back to the classic 70s Kansas sound. Ragsdale and Brislin are featured here. At around 1:20, however, everyone except Brislin on piano and Platt drop out. Platt's voice is remarkably similar to Steve Walsh's voice when he was in his prime (whom I consider to be one of my favorite singers). Harmony voices join in for a couple of phrases. The band re-joins with a lush sound at around the 2 minute mark. The tempo becomes rock-steady around 2 and a half minutes for the second verse. The sound after the second verse is immense; it sounds like mellotrons may have been used, although I see no mention of them. There is a synth solo at this time, followed by a bridge. I love the instrumental break at 4:14 with changing meters. Then at 4:35 the guitars are featured for the first time playing a great riff. Brislin takes an organ solo over that riff then there is a guitar solo, not sure if it is Williams or Rivzi. Shortly after the 5-minute mark, the tempo double-times, and we start rockin'! More guitar solos follow at this faster tempo. At 5:40 it returns to the slower tempo with the big lush sound. Vocals return in the manner of the first verse with only piano accompaniment. They turn the lyrics around though. In the beginning he sang, "The absence of presence fills the air, I know you're here but you're not really there," but now the line is: "The presence of absence disappears, I know you're there but you're not really here." An instrumental section closes out the track with synth being featured. GREAT track!

Track 2 - Throwing Mountains

This is the second longest track at 6:21. None of the rest are longer than 5:20. It begins with distant sounding guitars with lots of effects on them. A big heavy riff follows at about 10 seconds. At around 35 seconds the riff changes and the violin takes over the melody. The verse begins at 49 seconds with Platt singing softly. At around 1:10 the dynamic level increases and leads to the chorus. The violin takes the lead again between verses. The second verse has a more syncopated backing. An instrumental break follows with prominent violin, before the big heavy riff returns. Ehart is playing an almost Kashmir style beat. The guitar solos follow then there is a brief violin solo. The next verse has less rhythm in the instrumentation, but they accent between phrases. A cool descending riff takes over after the chorus. Then acoustic guitar accompanies the harmony vocals. The band kicks back in at 5:25. Ragsdale is featured as the song reaches its conclusion. Awesome song.

Track 3 - Jets Overhead

This one starts with a bit of classical style piano from Brislin. At 34 seconds, the band kicks in with heavy guitars and violin. The vocals take over at around the 1 minute mark with less instrumentation. The rest of the band re-enters by 1:20. Ragsdale's violin melody fills in between verses. Following the second verse more violin is featured, including a full-on solo section. A short guitar solo takes over around 3:40. After that the vocals are almost a cappella, before the instruments return. The harmonies on this are marvelous. An instrumental section closes out this wonderful track.

Track 4 - Propulsion 1

This is the shortest track at only 2:16. It begins with ominous bass and piano. A rhythm emerges, though, and it is more exciting than ominous. There is some great playing with various meter shifts. There's an amazing piano fill in the middle. This is shaping up to be a brief yet fantastic instrumental. That could have gone on at least twice as long to me.

Track 5 - Memories Down the Line

This begins with a slow piano part. Platt joins in on vocals in a ballad style. The rhythm section joins on the second verse, with a slow, gentle beat. Organ joins as we proceed. At 2:00 the band kicks in with violin taking the melodic forefront. Another chorus follows the solo section., but with the full band continuing. There is an excellent dramatic part at around 3:30. A guitar solo closes the song out. Well done.

Track 6 - Circus of Illusion

This one also starts at a slow tempo, with violin and keys. However, at 12 seconds the band kicks in with a big set of fanfares. A delay effect on the guitars makes for an interesting sound as the vocals enter. The tempo increases as the drums enter on the second verse with a big tone. The band is strong on the chorus. Ragsdale's violin takes the spotlight next, and we transition into another verse. There is a complex instrumental break from around 2:50-3:20. Another verse follows, and then a violin feature. An additional chorus takes us to the big finish. Cool song.

Track 7 - Animals on the Roof

A twisting piano and organ riff starts this one, quickly joined by the rest of the band. There are shifts in the meter as the introduction proceeds. The verse, while steady and rocking, has a few meter shifts as well. The chorus is big and mighty. Another verse and chorus cycle follows. The twisting keyboards return at 2:30, then an acoustic guitar joins before the full band kicks in. This section reminds me a little of the break in "Miracles Out of Nowhere," on their 1976 classic, "Leftoverture." A 6-8 bridge follows. Then we have another complex instrumental part, followed by a guitar solo. Another verse and chorus follows. Ehart plays a great snare-drum pattern at around 4:50 while the band continues to the end of the song.

Track 8 - Never

This one begins with ballad style piano. A distant guitar lick leads the vocals in. The instrumentation subtly increases at around the 1 minute mark. The full band is led in by a drum fill at 1:25. However, on the second verse,, the instruments cut back down, although the bass drums remain. The melody of this song is beautiful. It has a bit of a power ballad feel, but a high-quality one. Ragsdale plays a beautiful violin solo, followed by a guitar solo. I like the instrumental arrangement under the vocals. A guitar melody leads to the closing chords of the song. Nice ballad.

Track 9 - The Song the River Sang

An exciting piano part starts this one off. Guitars play a countermelody over it, before starting a riff that brings the rhythm section in. They lock into a 7-8 groove and then the vocals join in harmony. After the verse, the opening piano with a countermelody returns but this time violin is featured. Ehart takes over with a tom-tom based riff. The 7-8 guitar riffs return, but then Billy Greer gets a bass feature over the top. The next verse follows. I love the riffs on this! This is fantastic prog! At around 3:20 the dynamics drop way down while low-pitched piano notes take the lead. Other instruments gradually join in, creating a crescendo. Cool clavinet sound around 4 minutes. There is a "swirl" of various instruments panning this way and that, almost as if we are in the center of a slow tornado with various interesting instrumental sounds passing by while there is a cool riff underneath. And this fabulous cacophony of sounds ends abruptly, thus closing out this fantastic album.

OVERALL IMPRESSIONS:

While the spirit of 70s Kansas permeates this album, it does not come across as an imitation or pastiche, or even an homage to earlier days. This is just a set of fantastic musicians doing what they do and creating a certain sound. There are enough modern twists to keep it current, without losing that Kansas sound. The closing section of the final track was unlike anything I had ever heard, and I'd say it was my favorite moment on the album. I know that Ehart is having some health issues and is not performing live as much, but his presence on this album was strongly felt. I enjoyed every track on the album. I'll go with 4.5 on this one as well (like I gave Styx's "The Mission" last week). Not quite a full 5 out of 5, but close.

Clicked 5, even though it's a 4.5, but 4 is too low!