I have been on a 50-year crusade, explaining that prog is beyond any doubt, the only musical style that incorporates absolutely every other musical genre within its widely embracive arms, and to witness that our beloved style has spanned the entire globe, with a multitude of bands from diverse places as Bahrein, Indonesia, Faroe Islands, Chile, South Africa, Tunisia, India, Armenia and Uzbekistan, among many others , is sheer bliss. But a Native American Indigenous prog band, that my friends, is quite the eagle feather in the proverbial Prog headdress /cap! With well-known composer/keyboardist Lisa Larue leading the charge, we are instantly in good hands ! This Cherokee artist from Oklahoma has a 25-year career of delightful solo albums to depend on and she certainly does not disappoint in this project. Backed by Juan R. Leon on touch guitar, bass, synths and native flute, we discover a Tarahumara/Yaqui native from Mexico that clearly possesses all the chops to fill out the sound. Last but not least, an indigenous mestiza from Ecuador, Carolina Padron, with a voice like the wind. Boy, are you ever in for a surprise!
“She/Her” and “The Power of Lucy “ form a two-part fitting introduction, the first a magically orchestral, violin-drenched introduction, dripping with classicist tendencies, an ideal set-up for the voluntarily hopeful plea for “The Power of Lucy “ where the Lisa Larue’s piano takes over the melodic charge, and we get our first look at Carolina and her expansive set of lungs. The strong track is set up on a dramatic backdrop of sharp and modern symphonics , the melody accessible to the level of current trends with a hint of exasperation that adds an eyebrow-raising reaction.
The shift to a more World music fell becomes apparent on “Ceremony Beyond the Fence”, as it offers an electronic escapade that could easily be a folk song from many different cultures, from Celtic, Norse, Irish, Breton, Ugric, Mansi, Sami, Kabyle, Gypsy, Moor, anywhere in the Middle East and even the Far east, its that global sounding . A harrowing vocal tour de force, elevated by a giant chorus, with a wide variety of scales attempted and easily reached.
“Ancestor Intelligence“ wastes no time in exposing their musical awareness, led by a furious electronic cavalcade with gripping guitars, throttling bass amid sizzling orchestrations, and ultimately speared with intricate synthesized arrows. Lisa Larue infuses a plethora a flute-like synth patches into her palette that makes the entire sonic disposition palatably infectious. Bulls eye, to say the least!
I did mention prog, so what more proof would one need than a prototypical 8 minute + epic “Corn Mother’s Dream” in which Carolina overtly posses several levels of octaves, with an innate ability to sound different at the drop of a feather. Leon’s guitars and bass punch with gusto while Larue establishes a massive colossus of sound on which the authoritative vocals glide as if supported by all the winds, modulating with ease, controlling pitch and hitting impossible notes at will. Leon’s solo spot is …well, spot on! But as they say down south “I declare!”, what a voice…A masterpiece track that begs to be heard!
The piano takes center stage on “Building New Worlds”, laying down the foundation for one of the vocal discoveries of 2026, I have named Carolina Padron, whose stunning vocal capacity is utterly spellbinding. Not only the lead vocals but also the often-extreme backing vocals that are simply impossible. This formidable woman could sing in any band, any style, hands down, lungs full! Golden buzzer worthy, I kid you not.
“You Are the Medicine” is a flowing plea, a moment of reflection, mostly piano and voice with a simple upswing, nothing over the top, just content to tell the story. There is some dramatis in the voice that comes as another tool in her box. Though comparisons are perhaps moot, let’s say she is in the Sarah Brightman range of vocal style and power.
“Nothing New Since 1492” pretty much sums up the ongoing prejudice aimed at American (both North, Central and South) indigenous people, conquered by lust for land and gold , finally banished to a life of separation from the mainstream, an injustice that has plagued supposedly rule of law-based countries like the bellicose USA and the allegedly gentle Canada. Throw in Brazil, Mexico, Peru and pretty much the entire continent). The music is fittingly unfortunate to be polite, the passion expressed overwhelmingly defiant.
“Feet to Find It” maintains the cinematographic pace, though wrapped in a more conventional structure, but when she hits those high notes, coming from way down below, it shatters glass. Its actually frightening. When I listen to something new that bowls me over , I tend to react with giddy laughter, here I find her dominant voice outright intimidating. The insistent backing vocals are even scarier! I surrender.
Choosing a more reverent feather, “Ascent” keeps a rhythmic pulse that shows little remorse, yet the sky-scraping orchestral keyboards paint an altogether panoramic expanse, making this piece feel like an anthem of sorts. A fascinating melange of culture in an ultra modern casing can be an experience, and this certainly is.
The first single, “Flag of Fire” is what I heard first before I feasted on the entire album and it’s what made me decide to accept the review. The influential melody is crushingly devastating and possibly a track for the ages, its that stupendous. I mean, we are in Sarah Brightman territory , a gloriously overpowering performance by all involved, as the music could not be better suited for this kind of singer.
I cannot find the words that could possible define what I am hearing (I rather rare instance in my life, I assure you). The surprise debut of 2026, by a country mile! The next album should confirm this talented crew as a revelation.
4 proud cultures