LOVE

1. We Claim the Moon, a FLOWER KINGS-style debut, that's for sure; Hans still sings so well; the atmosphere reminds me of The Love Boat, in fact, the jazzy escapade at the end of the race is hard to digest, too focused, this track is a blast. 2. The Elder goes into symphonic territory bordering on elegiac, reminiscent of the great YES; the development is worth it for its marshmallow arrangements that make you want to sit down in the evening and stop thinking; symphony in the style of themselves and the youngsters of BIG BIG TRAIN; one of the current prog signatures of the last of the 70s dinosaurs. 3. How Can You Leave Us Now!? for its SERRA-like base from the 80s, for the AOR air of BOSTON from the love song era, for the bucolic and flowery side of GENESIS, for the bewitching ballad. Beautiful but overdone, bombastic and demonstrative. 4. World Spinning for Lalle's keyboard interlude leading to a soaring, invigorating orchestral prog. 5. Burning Both Edges for the epic track, a long progressive build-up oozing with overly sweet candy. For Roine's guitar solo, revealing his delicate and melting touch, yes, it's enticing; the Genesis-esque atmosphere I adored almost 50 years ago is still as beautiful but dries up with time; in short, a musical slap in the face for anyone who didn't know this band before. 6. The Rubble for the bluesy sound it exudes, a fruity mid-tempo that makes you want to invite your future partner to this slow jam reminiscent of SANTANA, with its atmosphere and guitar solo; very rhythmic, very fresh, groovy, inviting you to snap your fingers. The melting Hammond behind it.

7. Kaiser Razor for the second interlude, which makes your ears prick up even more. An expressive interlude reminding me of TOTO's 'Childs Anthem'; a short but intense moment, navigating between jazz, bossa, South American ambiance, and Scandinavian symphony. 8. The Phoenix for my favorite track, short and to the point, for its airy Yessian intro, a beautiful solemn track that doesn't just leave its nest. 9. The Promise for its country side with folk arpeggios, for its accordion, also settling down and showing that progressive rock comes from classical and popular music in fact; a beautiful ballad. 10. Love Is returns after these few short and remarkable tracks to the lands of Albion, eyeing GENESIS; a country sound, like a funfair, a small village clique. In short, a break after a flight, the symphonic melody joins the progressive, forgetting how well-crafted it is, superb. 11. Walls of Shame for the Gilmourian guitar intro, for the progressive twist; the FLOWER KINGS showed what they could do with a good copy/paste. Then they let loose; a bluesy solo with the organ of the time behind, Hans giving his gravelly voice, the synths and keyboard dripping their octaves, then the crystalline piano. 12. Considerations with the intro smelling good of KING CRIMSON, yes from afar but still; well, an intro that makes you dream, the crescendic rise to a castle, a pyramid, in short, an Olympian mount. Hans modulates his voice, the tone is more solemn before heading off into the territory of SPOCK'S BEARD from Neal's time. The track that connects you and connects you to symphonic prog with its clarity, much more refined than the last PATTERN SEEKING ANIMALS in comparison. A symphonic track that showcases Mirko accompanying Roine for a high-note finale.

A FLOWER KINGS with a FLOWER KINGS twist, in fact. Well, without more, it would be another band, one could call very good, disconcerting. (3.5)

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