Lente Viviente is another spectacular release from Little King, veterans of the Prog Rock world, going strong for what is their eighth album release, containing seven new tracks to update their sound and combination of styles that make them essentially a Prog animal, but not without some other musical varieties. The vocals and guitar duties belong to Seattle native Ryan Rosoff, who moved to El Paso, then back and forth, which you can read all about on their website. The rhythm section of Little King goes to David Hamilton (bass and cello) and drummer Tony Bojorquez, but they sound bigger than a power trio.
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As with most trio’s, especially Prog centered trio’s, a sense of being larger than the sum of parts always comes to mind, but Little King bring layers of sound to the picture, with complex arrangements behind straightforward rock vocals. This is no easy feat, but Rosoff drives a hard bargain for all involved, making him of premiere front man status. “Catch And Release” reminds more of Geddy Lee’s solo work than Rush, but this also isn’t the only sound they ring of, as Little King have forged a sound to call their own over many releases.
The opening song is as good as anything to come along in a while, but they match it with “Dawn Villa” even though it’s noticeably darker and moodier, they make for good counterparts, both sporting video clips for visual sakes. Between the first two songs it’s a tossup for me, and that was a good early sign of what followed as the volume increased with nearly every song. These two turn in equally great, just completely different, showing their immediate variety and virtuosic musicianship on Lente Viviente. I’m still not sure which of the first two songs I like better.
The album continues to impress all the same as it goes, with “Who’s Illegal” taking on the obvious subject of immigration, which is a sensitive but essential talking piece lately, and the album would be amiss without landing on the platform for it. This is also where things get bluesy and more mainstream rock oriented, with a husky voice and delicate acoustic sweeping. “Kindness For Weakness” also takes on a more responsible story in the lyrics, with more soft moments to be heard on what is essentially a ballad of sorts that builds up with Rosoff’s angst at every turn.
No matter how you slice Lente Viviente, it merits top marks of its own throughout, with “Sweet Jesse James” being the next example, and what another fine gem Little King brings to the table, showing their musicianship has what it takes to write home about. And “Pass Through Filters” takes on drug addiction for what’s it’s worth and it shakes things up before the album closes with “The Living Lens” looking back through a magnificent collection of tracks, which take some wrapping your head around, but that’s a good thing where Prog minded fans are concerned, and it’s a great album to show for it.
Mindy McCall
