One of the themes of Vyktoria Pratt Keating's latest outing is that of 'Cosmic Dreams'. Have you ever had a dream so impossible to believe you just knew at any moment you would wake up? And then comes the second act. Thankfully for us and for Vyktoria Pratt Keating, the dream is real and is realized in the ethereal wonderousness of her music. Vyktoria's dream until this past year was to perform with Jethro Tull. To her delight and ours, several Tullies feature prominantly on her latest, a live release entitled Something about driving.

"Something about driving" was recorded during Vyktoria's 42 date tour with Tull in 2000. It is a wondeful collection of introspective folk tunes, playful idiosynchrasies and myriad musings all delivered in Vyktoria's remarkable and highly synchopated style.

Comparisons to other 'progressive' artists abound when folks write about Vyktoria - usually with mentions of Nanci Griffith, Dave Matthews and Kate Bush. Her guitar stylings do recall the ephemeral chord progressions and almost a-melodic cadence of Matthews. With a face strait from Botticelli or Titian framed by playfully coiled locks of red hair Kate Bush certainly can't hold a candle to Vyktoria's classical beauty (honestly - she looks like she just stepped right off the canvas of some tragically romantic Pre-Raphaelite painting) - but it is after all her originality as a performer which is sure to eventually garner such comparisons in the opposite direction.

'Voice and the Drum' sets the mood for the CD right away by declaring in it's own fashion that this is going to be lots of fun, a little moody and a little bit wierd. 'Spider' follows on with its worship of a mysterious little friend and is the first of many diary entries on the effort bookmarked by NY 10-11-91. All is not as it appears when we enter the world of 'Yer Dead' but the livelier strains of 'Buffalo' pull us out in the end.

As a lyricist her unique qualities don't hesitate to assert themselves in the softly romantic 'Where you end I begin' or the strangely engaging 'Rainbow Black', both backed by Andrew Giddings and Doane Perry. 'Do we entrain?' is certainly the centerpiece of the CD, placed at the all-important anchor position of the track listing. 'Do we entrain?' benefits from the flute stylings of Ian Anderson which come in lilting like visitors to a party at the best moments. The really memorable part of this song has to be the fantastic chord progression though, a collection of minors, augmenteds and whatevers (just try to find them, I dare you) which carry the listener travelling through exciting imaginary spaces.

Something about driving is an assertive and invigorating work of art, certain to inspire anyone who listens.

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