Never has an album been so aptly titled. The music of Franklin Kiermyer, a drummer with an Elvin Jones-like intensity on his drum kit and a compositional ear like Barry Guy's, is like the music of classical composers Bruckner and Mahler, one of searching and extending the search. That he imbues the search with such a range of physical motion and psychological emotion is remarkable in and of itself; that this swirling, conical mass of sound is organized in a way that one can hear its syntactical process unfold in more than that is an achievement. Assisted by a horn section comprised of trumpeter Chris Gekker, trombonist John Rojak, tuba player Dave Braynard, and Russ Rizner on French horn, and a rhythm section with himself on drums, bassist Tony Scherr, and pianist Peter Madsen, Kiermyer has constructed a music that is difficult, profound, and yet, very accessible. This isn't free jazz, nor is it out jazz. This is methodically realized composition in the modal jazz idiom that reveals its unquenchable desire in every bar. (Think of Coltrane's Africa Brass sessions with the spiritual and emotional underpinnings of A Love Supreme and you can glimpse it.) To separate the compositions and talk about them individually is an injustice to the musical process at work here. Suffice to say that the large group interplay moves together, gels, and swirls almost out of control in its quest for what Kiermyer can perhaps envision and wants to make heard; it is a Herculean task that this group of musicians has largely succeeded in accomplishing. ~ Thom Jurek, Rovi

1		Ahamkara
2		Metatron
3		Thy Names
4		First Person-Singular
5		The King's Messenger
6		Sanhedrin
7		Jade Mountain
8		Miriam

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