THE ABSENCE OF PRESENCE

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!