Kansas' 'The Absence of Presence' - Album Review

With the exception of a handful of listens to 1976's Leftoverture and 1977's Point of Know Return, it was actually with 2016's The Prelude Implicit (which I reviewed here) where my journey with the American progressive rock act Kansas truly began. Despite having been a huge rock and prog fan for most of my life, Kansas for some reason alluded me somewhat. The fact that the band have never really been all that successful here in the UK was probably a factor in my lazy approach to their discography, but I also think that my initial impressions of Leftoverture also contributed to it. This will certainly come as a surprise to some, but Leftoverture has never really made a big impression on me. I have listened to the album a number of times over the years, but it has never truly clicked with me. This continues to surprise me as most Kansas fans would say that Leftoverture is one the band's best albums, but I would likely reach for 1975's Masque, 1977's Point of Know Return, or even The Prelude Implicit over it on most days. If you go back and read my review of The Prelude Implicit, you can tell that I really enjoyed the album at the time - and my opinion on it has only improved over time. For a band that had not released an album in sixteen years and were without the two main songwriters from their heyday, Kansas really knocked it out of the park on their fifteenth studio album. Clearly wanting to capitalise on the success of The Prelude Implicit; which was greeted by the band's fanbase with open arms, so much so that many of the album's songs have been played live over the past few years; Kansas returned last month with their sixteenth studio album - and thankfully it did not take them another sixteen years to get it done! The new album, The Absence of Presence, picks up exactly where The Prelude Implicit left off four years ago - and it goes for a very similar overall sound and style. Six members of the expanded seven-piece line-up that created The Prelude Implicit return on The Absence of Presence, with keyboardist Tom Brislin (Spiraling; The Sea Within), who has honed his prog credentials with Yes and Camel on session bases, having replaced David Manion in 2018. Despite being the 'new boy' Brislin has really made his mark on The Absence of Presence. He is credited with co-writing all but two of the album's songs, with another 'new boy' in the form of guitarist and producer Zak Rizvi being the album's other main creative driving force. It is amazing that The Absence of Presence, which is classic Kansas in sound and style, was largely put together by the band's two newest members. Rizvi had already made his presence felt on The Prelude Implicit, and the songwriting partnership that he has recently formed with Brislin is very impressive. Founding drummer Phil Ehart and current frontman Ronnie Platt contribute lyrically to a few of the album's songs, but otherwise everything else that you hear on this new album was written by Rizvi and Brislin - with the rest of the long-time Kansas members helping to bring their creations to life with their signature flourishes.

The album gets underway in fine fashion with the eight minute-plus title track, which is also the longest song here. The band's current line-up have perfectly invoked the classic Kansas sound of the 1970s with this song; and, in truth, on the whole album; but it is perhaps this opening track that best showcases the band's famous mix of progressive rock tendencies and soaring melodies the best. Brislin's ringing piano notes start things off, before David Ragsdale's haunting violin joins in with an aching melody that is right out of the classic Kansas songbook. Ragsdale is all over this song, with his violin taking the lead melodically during many of the piece's key moments, but that is to take nothing away from the rest of the band who really pull together to make the song such a powerful album opener. Brislin moves between piano and shimmering Mellotron throughout, while Platt, shining on his second album with the band, lays down a melodic and engaging vocal performance. Despite the song's length, there are still plenty of hooks to be found. Platt's chorus melodies are subtle, but really take hold after a few listens, and Brislin's warm synth solo about a third of the way through recalls the progressive rock heyday of the 1970s. Ragsdale's violin melodies bring the grandness of the song to life, while Rizvi and founding guitarist Rich Williams often team up for melodic soundscapes and potent rock riffs - including a mid song trade-off between themselves and Brislin's Hammond organ. As much as I enjoyed The Prelude Implicit, this song really takes the sound the band went for on that album and runs with it - improving it in a big way while also ensuring that their roots are payed tribute to. This could be the best Kansas song since the 1970s; and, although I am not anywhere near as well-versed with the band's catalogue as many others will be, I feel pretty confident in saying that. The album's lead single Throwing Mountains is similar, but reigns the progressive tendencies in a little and goes for a harder rock sound overall. Brislin favours his Hammond throughout the track, and he locks in perfectly with the guitars throughout for a Deep Purple-esque sound during the heavier moments. Ragsdale's violin once again provides grand counter-melodies to this hard rock melodrama, while Platt soars vocally during an ear-worm of a chorus. While the song is a little on the 'simpler' side being a single, this does not mean that it does not sound like classic Kansas. The band's classic sound is still on display here; largely thanks to the wall of sound approach taken by the two guitars, keyboards, and violin; and the way the band really pull together to harmonise vocally only adds to the huge sound that they are going for. Throwing Mountains might be a single, but that does not stop it from being a hard-hitting rock track - it is just packed full of memorable melodies to draw the listener in.

Jets Overhead returns more to the sweeping sounds of the title track, with a virtuoso Brislin piano intro setting the scene. Some of the tougher moments of Throwing Mountains are retained, but this is a song that is going for a grander sound - while trimming the song length down somewhat to present it in a slightly more accessible way. Williams and Rizvi's guitars are tough throughout, and they lock in perfectly with Billy Greer's growling bass, but the main melodies are often provided here by Ragsdale. I do not think that enough focus is placed on the importance of the violin to Kansas generally. Traditional guitar and keyboard leads are far less common in Kansas' sound, with the violin playing of Ragsdale, and Robby Steinhardt before him, providing many of the songs' melodic focal points. Ragsdale is all over this song, with violin leads cropping up throughout the whole thing - and a juddering solo in the song's early stages places even more emphasis on the instrument. While Kansas may not be as focused on instrumental prowess as many prog bands, they do occasionally like to let their hair down. The short instrumental piece Propulsion 1, wholly written by Brislin, allows the band a couple of minutes of all-out instrumental experimentation. Unsurprisingly Brislin dominates with his Hammond, but Ehart demonstrates what an underrated drummer he is with some fast-paced double bass drumming out of the Cozy Powell/Tommy Aldridge school. The piece acts as something of an extended intro to Memories Down the Line, another solo Brislin composition, which opens slowly with some piano and gentle Platt vocals. The song's intro contrasts perfectly with the fusion rock explosion of Propulsion 1, but it really allows Platt to showcase his excellent voice. While I am sure many fans wish that Steve Walsh was still in the band, Platt has more than demonstrated over the last few years why he deserves to front Kansas - and his emotional performance throughout this song really showcases why. The soaring ballad is the perfect showcase piece for him and, while the band still play their part to make the song sound 'big', there is certainly more room for him to breathe here. Ragsdale's sparse violin lines add to the song's emotional pull perfectly, while Brislin's piano helps to ground the song throughout. Circus of Illusion is similar to Jets Overhead; a great mix of the band's progressive influences and a harder rock edge. Platt, who wrote the song's lyrics, showcases a slightly different side of his voice throughout some of the song's tougher sections; while Rizvi and Williams play around with a few guitar tricks such as the choppy rhythms and melodies during the sparse verses. Despite only being five minutes in length, Circus of Illusion is a song that really crams a lot in. This is a truly progressive sounding song, with lots of melodies that flow together perfectly and a few changes in vibe throughout. Some parts of the song really push Greer's bass to the fore, giving it a grinding hard rock feel, while other moments - such as the chorus - go for an all-out musical theatre feel with soaring harmony vocals and dramatic keyboards.

Animals on the Roof is similar but with even more focus placed on soaring melodies. Some of the vocal lines throughout the song are very AOR inspired, recalling the John Elefante era of the band somewhat, and as a result it is one of the most instantly-memorable songs on the album. On my first listen to the album it was one of the songs that really jumped out at me, and I think that is because it has one of the best choruses here - and the prog moments are a bit less prevalent. While repeated listens have revealed the nuances of the other songs and many have now overtaken Animals on the Roof, this is still a song that I really enjoy due to its memorable melodies and its smooth presentation. Since the 1980s Kansas have always had a foot in or close to the AOR camp, and this is probably the song on the album that showcases that influence the greatest - despite Ehart really laying into his drum kit at the end for an explosive closing crescendo. Never, the album's penultimate song, is another pseudo-ballad. Focus is placed throughout on Brislin's piano and Williams' acoustic guitars but, as with Memories Down the Line, there is still the big Kansas sound present throughout. Ragsdale once again makes his presence felt with some choice violin melodies; and Rizvi's production really emphasises Ehart's drums, giving them that big 1980s gated sound as heard on many famous power ballads of that decade. A subtle guitar solo adds to the song's overall melodic pull, but it is one of those songs where everything really comes together to create something greater than its parts. The album's final song The Song the River Sang is a little on the quirky side for the band, but it still sounds like classic Kansas. It is another Brislin composition, but this time he also sings the song - his voice really feeding into the song's slightly different vibe. Kansas have often allowed members other than their lead singer to step up to the microphone, with Greer and Steinhardt making memorable vocal contributions to the band in the past, and Brislin does a great job here to bring the song to life. Ragsdale's violin contributes some Eastern-tinged melodies throughout, while Ehart's slightly erratic drumming gives the song a kinetic energy that is different from pretty much everything else here - which fits in perfectly with Brislin's vocal melodies. Being a Brislin song, it is unsurprising that his keyboards really dominate - and a lengthy, atmospheric instrumental closing section sees some great synth playing from him that really rounds out what is a fantastic song on an equally fantastic album. Overall, if you had not already guessed it, I really like The Absence of Presence. I was expecting to enjoy it after enjoying The Prelude Implicit back in 2016 but this new album has surpassed all my expectations and will probably end up in my Albums of the Year list come the end of the year. Every song here is packed full of great melodies, and it is an album that showcases more of its wonder with each successive listen.

The album was released on 17th July 2020 via InsideOut Music. Below is the band's promotional video for Throwing Mountains.