Author: Peter Podbrežnik
Artist: Flower Kings, The
Label: Inside Out Records
Released: 1995
Running time: 71:28
Rating: 4.5/5
The Swedes in The Flower Kings were, alongside America’s Spock’s Beard, the most important representatives of the so-called third wave of progressive rock in the mid-nineties. They played one of the key roles in reviving interest in that wonderful musical movement and its related subgenres. Above all, they brought back interest in symphonic progressive rock as it was played in the seventies. The band, made up of seasoned musical virtuosos and up-and-coming arrangers, actually came together by accident, when the Swedish music veteran, guitar virtuoso and singer Roine Stolt, a longtime member of the cult Swedish prog rock outfit Kaipa, recorded his third solo album »The Flower King« (1994). Because of its title, cover art and supporting cast of musicians, some people wrongly count that one as the first The Flower Kings album.
The musicians who played on it also became part of Stolt’s solo tour in support of that album, and in August 1994 the decision was made to form a band together, one that would draw its inspiration from the golden era of progressive rock, but with a few ‘updated finesses’ backed by modern production. The original The Flower Kings lineup that recorded their debut »Back In The World Of Adventures« featured, besides frontman Stolt (who on their early albums contributed extra keyboards on top of guitar and vocals), the keyboard maestro Tomas Bodin, Roine’s brother Michael Stolt on bass and drummer Jaime Salazar. The additional vocalist (and later also second guitarist) Hasse Froberg, a member of the »The Flower King« touring band, only joined them on the next release, »Retropolis« (1996). Two guest musicians also appeared on the album: Hans Bruniusson handled extra percussion and drums, while Ulf Wallander contributed soprano saxophone.
The members of The Flower Kings didn’t draw their musical inspiration solely from progressive rock, where you can spot countless influences from the prog giants led by Yes, Genesis, King Crimson, Emerson, Lake & Palmer and Pink Floyd. They also pulled from jazz rock fusion, classic rock and (less often) hard rock and pop. Long instrumental sections with plenty of improvisational jams and unpredictable time changes were always business as usual for the ‘Flower Kings,’ while most of the pieces featured distinctly melodic arrangements. Of all the prog heavyweights mentioned above, the most obvious influence within The Flower Kings’ music was always Yes, especially in the positive-minded vibe of most of the songs, the gorgeous vocal harmonies and the spiritual lyrics, since Roine was completely obsessed with an ecological-pacifist-esoteric philosophy when writing them.
It was also typical of The Flower Kings, especially in their early years, as »Back In The World Of Adventures« already proved, that they were tireless musical workaholics and virtuosos with every trick in the book, recording so much music in such a short time that they often struggled with the limits of a single or even double CD release. For a long time, at least seventy minutes of music on a single CD was a sort of ‘golden rule’ for Roine’s hyperactive crew, which over the years even became too predictable and almost generic, so something had to change on later albums.
Among the key factors of their recognizable sound, already on »Back In The World Of Adventures,« were Roine’s complex but mostly melodic guitar variations, his ‘friendly’ vocals, and Bodin’s keyboard versatility in building grand symphonic arrangements that often hit epic moods. Even back then, their rhythm section was among the best on the Swedish rock scene. That goes especially for Salazar’s hyperactive drumming, while Michael Stolt mostly came from the jazz school when laying down his bass lines. Still, that wasn’t enough to keep him from being replaced in the band in 2000 by Jonas Reingold, an even greater master of the instrument.
Eloquent proof that Roine’s virtuoso crew intended to pick up where the golden age of symphonic progressive rock ended in the mid-seventies is the opening 13-minute-plus epic »World Of Adventures,« which opens with subtle instrumental variations on keyboards and guitar before encouraging vocal harmonies, heavily influenced by Yes, kick in. These masters of their instruments hit right away with a short instrumental jam, where Stolt and Bodin in particular shine with crafty variations. Throughout, the band takes care to keep the melodic flow between the individual arrangements, quickly building an extremely pleasant atmosphere.
Roine’s vocal has always had an ethereal warmth to its color, so it’s honestly not hard to fall in love with it, while at the start he got his quality multi-part harmonies mainly through special effects. Later, Hasse Froberg was in charge of vocal contrast, especially on the punchier pieces. In the middle of the composition they also successfully show off some pastoral-flavored folk elements, drawing on Swedish folk music, followed by a transition into a complex yet melodic instrumental section. Within it, elements of symphonic prog, space rock and jazz rock fusion weave together nicely. Much like the far more academically trained American prog metal heroes Dream Theater, the ‘Flower Kings’ could play practically any genre they fancied, but they enjoyed themselves most with symphonic prog rock, which had been closest to Roine’s heart since his Kaipa days.
»Atomic Prince/Kaleidoscope« is a two-part instrumental suite whose opening section features wonderfully witty improvisational bits between keyboards and electric guitar, which gradually shifts into ethereal, strongly melodic harmonies with grand orchestral curtains. Even though there’s plenty of room for his guitar solos, Roine never comes across as selfish. He gives Bodin and both members of the rhythm section enough moments to prove their individual virtuoso chops. The transition into the »Kaleidoscope« section is marked by ambient, delicate symphonic ornaments, and then Roine, with gorgeous variations on acoustic guitar, proves that he already had neoclassicism ‘down pat’ back then.
On the punchy »Go West Judas,« which opens with a Mellotron arrangement, the ‘Flower Kings’ clearly demonstrate for the first time that they can occasionally ‘show their teeth,’ as the gritty guitar passages and breakneck drum fills prove. The somewhat darker atmosphere is also in sharp contrast with the bright ambient moods of most of the other pieces on the album. This time Bodin swears by Mellotron waves, which naturally draws certain sonic parallels with early King Crimson, while once again there’s no shortage of brilliantly executed improvisational sections.
Two shorter pieces follow, where The Flower Kings successfully prove that they don’t shy away from more compact structures when needed. »Train To Nowhere« is a relatively simple but pleasant power ballad that glides on the wings of Roine’s traditionally melodic and ‘friendly’ vocals, while gorgeous symphonic curtains flow in the background between subtle guitar and piano passages. The instrumental »Oblivion Road,« where the rhythm section deserves special praise, is another more compact achievement, mostly built on jazz rock fusion rhythmic nuances, with plenty of piano variations and witty use of the guest soprano saxophone.
On the next instrumental, »Theme For a Hero,« which you could call a mini epic, the ‘Flower Kings’ successfully return to the world of symphonic prog. The central symphonic arrangement is once again held together by the harmonious interplay of Roine’s guitar artistry and Tomas’s keyboard wizardry, so this piece, too, is stuffed with plenty of varied instrumental sections and complex time changes. Over time a pleasant, piano-driven motif takes shape, and paired with bright guitar passages it creates a festive, almost triumphant atmosphere.
»Temple Of The Snakes« is a short instrumental with an ethereal ambient motif that serves as a sort of overture to the next track, the playfully adventurous »My Cosmic Lover.« On that one, Roine, a big fan of Eastern mysticism, shapes an Indian-flavored motif with the help of his three up-and-coming instrumental buddies, while the whole song has a slightly psychedelic ambient pulse. Roine’s lyrics are (fortunately) not too serious this time, in fact an openly tongue-in-cheek pile of new age clichés about personal enlightenment. Over time it became almost a rule, by the way, that every The Flower Kings album contains at least one somewhat more tongue-in-cheek moment, if not more.
The instrumental »The Wonder Wheel« is another shorter piece, dominated by pompous guitar and orchestral improvisations. The album closes in a similar style to how it opened, with another 13-minute-plus epic, »Big Puzzle,« where Roine’s crew once again shines with gorgeous individual arrangements and a few bravura instrumental sections, full of interesting and unpredictable twists and turns. Above all, there are plenty of melodic moments with ‘floating’ symphonic arrangements that deliver the final triumph of a gorgeous atmosphere.
With »Back In The World Of Adventures,« The Flower Kings delivered a splendid debut that set plenty of standards for their future studio efforts, and it was also one of the key albums of the third wave of progressive rock in the mid-nineties. Roine’s ambitions for reviving classic progressive rock truly knew no bounds. After vocal (and later guitar) companion Hasse Froberg joined, who significantly eased his load and complemented him superbly, Roine also worked on numerous other (side) musical projects alongside his work with the ‘Flower Kings.’ With »Back In The World Of Adventures,« the longer and shorter journeys through countless turbulent prog rock adventures could begin.
Lineup
Roine Stolt – vocals, guitar, keyboards
Tomas Bodin – keyboards
Michael Stolt – bass guitar
Jaime Salazar – drums
GUEST MUSICIANS:
Hans Bruniusson – percussion, drums
Ulf Wallander – soprano saxophone
Production
Roine Stolt and Don Azzaro
Tracklist
1. World Of Adventures (13:37)
2. Atomic Prince / Kaleidoscope (6:02)
3. Go West Judas (7:40)
4. Train To Nowhere (3:45)
5. Oblivion Road (3:45)
6. Theme For A Hero (8:27)
7. Temple Of The Snakes (1:38)
8. My Cosmic Lover (6:40)
9. The Wonder Wheel (4:12)
10. Big Puzzle (13:35)
