The Absence of Presence

In 2016, Americas eternally popular prog juggernaut Kansas returned to studio recording for the first time since their 2000 reunion outing Somewhere to Elsewhere. The resultant The Prelude Implicit also marked debuts for lead vocalist/keyboardist Ronnie Platt, and guitarist Zak Rizvi. Remarkably, it reflected the bands vintage sonic signature and songwriting/arranging chops without craven nostalgia. Four years on, Absence of Presence builds on the strengths of its predecessor, yet goes far deeper into the prog aesthetic. Kansas popularity is based on the canny balance of meaty prog and radio-friendly melodic rock. Here, that strategy is more prevalent than on The Prelude Implicit. The title-track opener juxtaposes David Ragsdales omnipresent violin (Kansas is the only American band with this trademark), chunky, hard rock guitars from Rich Williams and Rivzi, new member Tom Brislins arpeggiated and rhythmically rich keyboards, a prodding bassline from Billy Greer, and majestic drumming from Phil Ehart, all spiraling into a commanding prog jam. Platts singing, while not similar to retired member Steve Walshs, is crystalline, evocative, and deeply expressive. Throwing Mountains intros with thunderous guitars and attenuated violin fills before Platt delivers wide-eyed hopeful lyrics that acknowledge adversity as a necessary stage in triumph. Second single Jets Overhead offers a gorgeous synth hook as its melodic frame. The twinned electric guitar riffs and processional tom-toms underscore Ragsdales violin and the droning bassline to usher the sets most memorable track. Cleverly, Kansas follow with Propulsion 1, an explosive, labyrinthine instrumental. Given the COVID-19 world this album emerges in, Memories Down the Line is eerily prescient. A signature Kansas power ballad, its lyrics reflect the end of civilization as we know it: Send these memories down the line/Our trials and tribulations/Send these memories down the line/And let them know we tried/Lessons locked inside…. While the philosophical melancholy and existential angst remain in Circus of Illusion, the music is more aggressive, knotty, and yes, hooky. Animals on the Roof is a forceful and dramatic prog number driven by Ehart. The power-riffing guitars and Ragsdales swirling violin meet syncopated rhythms as Platt rises above the maelstrom. While Never is a graceful, anthemic paean to self-determination and redemption, closer The Song the River Sang follows more intimate and intricate terrain before erupting into passionate prog. The band wind bluesy, metallic guitars into colliding synths and clavinets, ambient sounds, and chunky rock grooves. Fans will find Absence of Presence a welcome addition to Kansas catalog that is indeed comparable to their best recordings. For non-followers, it is both a musically and stylistically excellent example of 21st century American prog rock. ~ Thom Jurek

16年ぶりに出た前作『The Pr-e-l-ude Implicit』以降、キーボード奏者の交替を経て早くも新作が到着。精力的に行ったツアーの成果なのか、7人の演奏は緻密かつ強固になった印象で、優雅なスケール感とプログレッシヴな展開美はよりいっそう研ぎ澄まされている。インスト曲"Propulsion 1"～バラード風の"Memories Down The Line"の流れも素晴らしく、郷愁とロマンが同居した"Circus Of Illusion"など佳曲が勢揃い。
bounce (C)荒金良介