Kansas. Toto, Len Dawson, Patrick Mahones and the band that put the Mid-West state on the prog billboards worldwide, wayward sons like dust in the wind. Here is Quivira : Jake Livgren on vocals (does the name ring a bell?), the thrilling Lisa Larue on keyboards, her recent Rematrination debut left me in awe. Filling out the trio is guitarist John Baker who has worked with Mars Hollow and Forever Twelve.
Within a mere 6 seconds of the intro, “The Coming of the Spaniards”, my experienced ears immediately sent the following message to my brain, ‘this is going to be very very good’. Its all there: massive choirs echoing cross the sandy valleys, concentrated symphonics with a colossal Iberian influence on the acoustic guitar, interweaving conquering violins, elegance in the piano structure and loads of cinematic grandeur. Yes, I am still exhaling ….
On that note, “The Benefits of Breathing Quietly” has Joe Denizon’s crafty violin leading the way, passing the baton to Jake’s expansive voice, a commanding pulmonary delivery where both tone and delivery hold hands in interlocked splendour, and Lisa’s synths flirt unashamedly with the catskin gasps. She also dazzles on the piano as well taking care of the programmed drums (which are expertly designed.
A cunning play on words with “The Plain’s Truth”, equally clever musically, as the fluttering violin plays the lead to perfection, building up the fury courtesy of John’s superlative note bending (both the 6 and 4 string varieties), a merging of sounds totally in harmony with one another, eventually painting the vast landscape of both arid mesas and endless grasslands beyond. The acoustic guitar cannot help to revive that Hispanic sentiment, a dramatic sonic statement of intent.
Time to dive into more classic prog-rock initiatives, surely evoking the legendary Kansas overtly melodic bombast, Lisa Larue in particular shining brightly on her various keys, she is truly a star to reckon with. More passionate violin to remind us that its all about feeling, touch and caress. “Quivira Bound” becomes all fussed up with a twangy guitar solo that sparkles in the rain, the e-piano lull a momentary reflection of light, before Jake goes for another round on the microphone. Damn impressive.
Wide screen smoothness on the ripping “Moving Forward”, shifting gears into a musical cruise control, letting the electric guitar, violin and synths solo to their hearts content. Baker’s raunchy axe will surely blow a few tumble weeds into the mix, a stunning spotlight that nails the tombstone coffin tight. The violin setting features a two-track splurge that is equally mind blowing. The programmed drums are stupendously effective here, some prog purists hate the idea as a rule but frankly, the technology has certainly evolved from the old TR-808, as the title may imply. This is a headline piece of musical genius.
Everything changes on “The Turk/Follow the Wind”, namely the mood, the sound and the vocal style, a shocking variation that gives more pavement to the highway ahead. The sultry violin commands the instrumental cavalry once again, leading the charge as the storytelling suggests a look back at times gone by, when nature held firm against the conquest of the wild, wild west .
We now reach the heart of the sunrise, so to speak, with two of the longer tracks (both 7–8-minute range) that will define the core of the album, especially in a progressive context, as they are intricate workouts that ooze endeavour, aptitude and mature vision. “Nothing is Everything” is a fast-paced symphonic extravaganza that hesitates not one iota in getting into the nitty-gritty. Lisa’s solo piano sections are to die for, the inserting violin sizzle adding to the fire, the arrangement expanding into a gargantuan crescendo that keeps accelerating into a near frenzy. Its so explosive and stimulating, and as the final segment reveals a gentler outcome, one realizes that the question has been answered. Nothing is everything. Spectacular.
“Carved from the Sun” reveals a more groove orientation, almost like a driving down the freeway in a convertible, the throttling bass mercilessly crushing the gravel, the brassy guitar spiralling in full control, kicking up a vast wall of smoke that can be seen for miles and miles. The spirit is warm yet airy, bright and surely windy. This is ‘close your eyes and imagine’ style of prog that should impress even the most finnicky prog fans out there, equally grandiose and mesmerizing, and deeply committed to pleasure. I mean, wow!
“Kicking Rocks” (a great way to damage your toes out in the mountains) expresses perfectly the foundation of this muscular piece, not at all ‘hard or heavy’ but certainly beefy and athletic. Lisa’s piano proves her immense versatility, her fingers creating evocative images of strength and movement. When John decides that he needs to ‘ramble on’, he does so with gusto, bravado and tornado, flicking big swaths of thrills.
Expertly planned album as this clearly is, the final two tracks seek to reestablish a connection with the opening tracks, the violin /piano interaction returning to the front of the stage on “Prelude to Anywhere /Weekend Conquistadors”, a recurring vocal presentation where the epic story nears its natural conclusion. The upsurge is obvious, the mood settles and some brief narration expounds the message.
I am ‘Still Breathing”, though barely, as the emotions I have felt listening to this work has overcome my sense of critical thinking, a somewhat similar effect as falling in love (where reason kneels before the heart), and the realization that this final and momentous piece encapsulates the entire hour and 6 minutes spent in its glorified presence. Surely, among the top candidates for album of the year but unchallengeable winner of debut of the year! The horse has run away…..
5 Flight of eagles