HYDROPHONIA

Items ordered by ending time | Showing all 1 items

Visit eBay search:'prog rock' for items
Sell your ROINE STOLT items on eBay !

Best selling order

Visit Amazon tag:'Progressive Rock' for more prog rock

Lovers of "The FLOWER KINGS" will certainly become addicted to this tasty treat of heavy guitar-centric prog. Stolt has written and recorded some pretty sweet and spiritually uplifting music here with real warmth and delivered with some stunning musicianship. "Hydrophonia" is full of STOLT's positive vibes and eye and ear popping guitar work. Roine is supported by Jamie Salazar on the drums/percussion and Ulf Wallander on the sax, but otherwise it is Roine STOLT (guitars, bass, keyboards, percussion). Songs are very well crafted and offer some great musical ranges, tempo and mood changes throughout. An excellent album with some highly memorable songs from this highly creative and talented musician.

Whom else but the great guitarist, writer, and vocalist, Roine Stolt (The Flower Kings) would ponder why he creates music and in the same breath humbly give a nod to his influences? Then state that the importance of his art is insignificant in terms of the grand scheme of things? After all, we are all stardust in the beginning then we return to that form of existence upon expiration of our existence in this realm. I beg to differ; I think his music is as important as life itself, it is the essence of who we are and it brings us closer to our maker. For me, besides looking into my children's eyes, music is one of the only things that remind me from whence I came. I am sure that Roine would consider every day life as part of his artistry, and in turn, his expressiveness through his music vividly interprets those events. They say that the eyes are the windows to the soul; I think music serves this purpose very well, too.

Hydrophonia is a classic progressive rock instrumental statement from one of the most important and influential guitarists of our time. Although you may not hear his name mentioned in the same frame of reference as a Page or Clapton, Roine Stolt is without any doubt one of the best guitarists to ever pick up the instrument. Because his music is not mainstream, his popularity is not on the level that it should be, but believe me, he belongs in the upper echelon of great musicians of the last decade, and surely beyond as he continues to blaze a path for all of those that yearn to follow his legacy. This album is as strong as anything that he has done with The Flower Kings, and it is also proof positive that he is the musical genius that has propelled his band to great heights that they have reached over the last several years. This solo flight is just as prolific as his work with the band.

Every track is a sonic delight filled with essential progressive energy stemming from rock, pop, jazz, blues, and many other origins of musical and cultural diversity. Listening to the title track pretty much sums up the feelings and sounds that you will become engrossed in while taking in this recording. The song has Middle-Eastern leanings charged with dreamy saxophone and sharp keyboard shades. Stolt is an exceptional virtuoso that plays hard to formulate adventurous naturally rocking melodies. He succeeds in every way. On "Lobesterland Groove," you will find familiarity with the sounds, as they are reminiscent of some of the best Flower Kings material. Those are just two examples from an outstanding album jam packed with high points that are in a perpetual state of escalation and flux within the framework of each song.

I found this album to be exhilarating and consistent in quality from start to finish. It leaves nothing to be desired for substance and meaning. It is a five star outing beyond compare.

This is a remarkable solo album. Like The Flower King, this album obviously sounds much like the Flower Kings, as they are mainly based on Stolt's songwriting. Let me rephrase that - This album sounds like the essence of the Flower Kings. It's so full of beautiful melodies, interesting and sometimes funky rhythms, and very dynamic. Every theme is fully developed and explored here, a quality that many similar albums lack.

Cosmic Lodge: Great track. It kicks off with an epic intro, followed by a short saxophone solo, which soon makes way for Stolt's guitar. The song is based on a funky rhythm of drums and bass, upon which many different and ever changing themes are introduced.

Shipbuilding: A wonderful track, which was also used on the Flower Kings DVD (Meet The Flower Kings) as background music of the tour documentary. It's such a beautiful melody, played by Stolts guitar and a flute.

Little Cottage by the Sea: This was also used on the DVD, and it's a wonderful laid back song that really sounds like the title suggests - listening to it, you literaly see fisher boats, people going about their business in that little cottage.

Wreck of HMS Nemesis: Beautiful baroque-ish melody here in the intro. This is my favorite track on the album, it's an epic, although a short one.

Bizarre Seahorse Sex Attack: This track start's with a beautiful Xylophone riff, and even the melody is underlined with an unisono playing xylophone, much like Zappa used xylophones. It then is varied a bit, using Clavinets and other similar instruments. The melody itself also reminds of Zappa, until about halfway of the song when the drums kick in, when it begins to sound more like a FK song. But then again, the following guitar solo again reminds of Zappa.

Oceanna Baby Dolphin: Beautiful guitar solo in the intro, where Stolt uses the volume knob of the guitar to create a steel guitar sound with his normal guitar. Like Shipbuilding, this is simply a beautiful track.

Nuclear Nemo: This is one of the few tracks that aren't entirely happy and peaceful, it's really dark and brooding at times. Wonderful Bass/Guitar unisono riffs, and some parts even remind of King Crimson. Van der Graaf Generator's "Killer" also comes to my mind here.

Hydrophonia: Wonderful track, but not as colorful as the others.

Lobsterland Groove: This is a track that you could dance to. It starts with the bass drum playing straight 4ths, and no snare. The bass plays a funky line, and Porcupine Tree comes to my mind - except that the melodies and rhythm instruments are more like Zappa-influenced Jazz-Fusion. And indeed, the songs features a lengthy saxophone improvisation.

Seafood Kitchen Thing: Finally, we get a real up-tempo track. Many themes of the previous songs are picked up here in form of multi-voice guitar solos. About half way through the song, there is a nice Zappa quote ... I leave it to you to find it. And later, a guitar solo that sounds like a mixture of Zappa and Vai. This is really a great way to finish a remarkable album.

Everyone knows that Roine Stolt - whom altogether with Tomas Bodin have been the masterminds of The Flower Kings - is a genius composer and guitar player. But only through this album I can see that he can play other instruments excellently including: bass, keyboard and percussion. No one would argue about his capability in composing an excellent music, singing and playing excellent guitar work. Indeed he is also excellent in translating his composition into an excellent music with many of instruments were played by himself. To reduce production cost? It might be but that's not the point that I'm making. Even with his own work he can deliver excellent music by playing multi instruments in this beautifully crafted album.

"Cosmic Lodge" (7:13) kicks the album off with a reasonably long and nice guitar work accompanied with keyboard at the background which sometimes sounds like a church organ sound followed with a continuous music stream with firm bass lines and drum beats. What follow is an alternate play between sax and guitar melody in a beautiful composition. I can feel the sound of The Flower Kings minus vocal line. It's a wonderfully composed music, performed flawlessly the musicians. "Shipbuilding" (5:51) starts in a slow tempo featuring quite straight forward electric guitar melody with simple arrangement on rhythm section. The music changes during chorus and returns back as the original rhythm section. "Little Cottage by The Sea" is Roine's exploration of guitar and keyboard minus drum beats and bass. "Wreck of HMS Nemesis" (11:55) is a track that reminds me to Patrick Moraz and Syrinx collaborative album "Coexistence" that used pan pipe. This track is opened with pan pipe / flute work continued with alto sax augmented with guitar, accentuated by drum work. Overall, this song demonstrates a nice combination of guitar and sax, augmented with keyboards. The ending part is truly excellent as it reaches uplifting mood.

"Bizarre Seahorse Sex Attack" (6:00) is composed in similar vein with the opening track - in terms of structure and style. The only difference, it starts with slow tempo music exploring keyboard and the followed by stunning guitar work. "Oceanna Baby Dolphin" (3:26) is a sweet music with soft touch in keyboard and guitar. "Nuclear Nemo" (6:27) brings the music back into an uplifting mood with a blast of music with Genesis- influence style. The music flows in a floating style accompanying great guitar work, augmented with keyboard. It's a very interesting track; energetic and dynamic. "Hydrophonia" (6:11) begins with an explorative keyboard sounds followed with chanting and soft keyboard solo in quiet passage augmented with guitar fills. The electric guitar provides melody that brings the music to flow in slow tempo, featuring alto sax work. AS far as style, this track is the most symphonic compared to other tracks. "Lobsterland Groove" (6:19) is an interesting track that gives an excellent combination of guitar, sax, percussion and bass guitar. It's an excellent composition and very enjoyable - especially on the rocking guitar work and sax solo. I really enjoy this track. The album concludes with "Seafood Kitchen Thing" (9:25) which has an intriguing intro and relatively fast speed music with keyboard sound effects followed with stunning electric guitar solo. It's a great closure!

On musicianship, other than Roine himself, I think Ulf Wallander plays his soprano saxophone wonderfully where his work has transcended the soul of the music excellently through smooth and soft sax playing. Jaime Salazar is an excellent drummer as you might have heard his contribution in early The Flower Kings albums.

It's an excellent addition to any prog collection. Recommended. Don't miss this CD if you really like the music of The Flower Kings. Keep on proggin' ..!

Peace on earth and mercy mild - GW

3 3/4 stars

A well-produced jazz fusion album that features the guitar as the prominent instrument. All songs have imagery of oceans or anything undersea instrumentally (since there are no vocals in this album). Roine handles not only the guitars, but also the bass and the keyboards very well. The production is excellent, and it contains Roine's guitar playing at his best.

Cosmic Lodge is a fine starter with the main theme played in the intro, then going into longish jazz-fusion soloing. I love his keyboard work too here, with powerful church organs near the end. The main theme closes this very interesting song.

Shipbuilding has some of the best melodies of this album and is overall pretty catchy. This is a pretty accessible track, but unfortunately doesn't grow on you.

Litle Cottage of the Sea is a bit longer than it should be. It's just an extremely mellow theme repeated over and over and developed to death. The bass playing is surprisingly good though (IT's not Roine's main instrument)

Wreck of HMS Nemesis is the best song in the album. The main theme is played again with variations until a chilling riff is played 4 times, which is followed by an amazing musical theme. If only the album was as good and focused as this intro. A great guitar/sax/keyboard short-epic of jazz-fusion that doesn't lose momentum in its long duration.

Bizarre Seahorse Sex Attack is surely a strange name, and the song sounds a bit lighthearted. This is a Zappa-styled jazz rocker with influences of Flower King songs like Unorthodox Dancing Lesson and Circus Brimstone. If you don't like those influences and Frank Zappa, you may not like this, but you can't deny the guitar work is phenomenal.

Oceanna Blue Dolphin is a beautiful laid-back track with a good sense of melody.

Nuclear Nemo is the hard-hitting "in your face" dynamic song and is an instant classic and the last highlight of the album. The main riff is incredibly menacing, and I love the guitar/sax frenzied playing. The second half is mellower, but is developed into a powerful finale that ends up on a fade-out.

Hydrophonia is worthy of being the title track as it contains good melodies and impressive song arrangements. This song is less jazzy and more symphonic in style and sounds like a track that could have made it in The Flower Kings' Space Revolver.

Lobsterland Groove is driven by a very addictive and danceable groove. The instrumentation is very well laid out and offers a vast array of musical ideas. I just love this song.

Seafood Kitchen Thing is the heavy and epic finale of the album. IT brings the album to a close finely, but i get a bit tired of the recycled Cosmic Lodge theme all over the song, and I don't like the heavy intro with the woman's screams (or orgasms?).

Overall, a very well-executed jazz-fusion instrumental album. If you are a lover of jazz fusion and/or masterful guitar playing dominating the music and/or a Frank Zappa fan, I highly recommend this album.

Highlights: Wreck of HMS Nemesis, Nuclear Nemo, Hydrophonia, Lobsterland Groove

Let Downs: Little Cottage By The Sea.

My Grade: B-

One week ago I was fortunate as to be able to attend a The Flower Kings concert here nearby in Largo, Florida. I'm not going to describe here the music of that particular group as this is not a review for one of their albums. But it's important, for the sake of what I'm going to say about Hydrophonia, that i make a comment about something that impressed me a lot: there I was, in a small auditorium not large enough to hold more than 200-300 people, the place was not full to its total capacity; it looked more like a theater stage than a stage where a prog-rock concert was going to take place; the people in attendance were actually sitting just a few meters (feet) away from the stage; there were no fireworks, there was no digital screen or lasers going on, there were no fancy costumes or theater antics taking place............. but there was something on.......

...Music....

Music made and performed with the utmost love for the art, music made from the bottom of someone's brain and heart, FOR listeners' brains and hearts. It didn't matter that there were just a couple hundred people watching the performance: for those lucky ones, these five swedes gave it all, and standing atop them, a real artist, a real musician, a true believer that music is AN ART, Roine Stolt.

So after leaving the concert, I decided to buy one of his solo albums (I have all by TFK) and, guided by reviews, I got Hydrophonia. What can I say about it?

In a word, and sorry if I sound a tad repetitive:

ART

This collection of 10 instrumental "songs" (I never will get used to call instrumental pieces "songs", THEY ARE NOT SINGED!! We should call them instrumental pieces, but Ok, fine, I'll keep with tradition) covers about every influence and every one of the many facets that the swedish master has in his musical heart. The first song, "Cosmic Lodge", for example, sound a lot like Stolt's brainchild band, The Flower Kings, more so if we remember who is the drummer who plays with him (former TFK beat man, Jaime Salazar). But don't think that that song sets the standard for the whole album! Starting with the following track, "Shipbuilding" (which, by the way, is made up of a build-up of ideas, hence the name) the album goes into diverse, completely changing territories, taking a lot of influences from classical music, from jazz, from prog-legends (Yes off course) and more. The album is full of gorgeous melodies, great guitar solos, ethereal, moody sounds, water, sea-like sounds and ambience (hence the name of the album, it has constant references to the ocean and water), but also extremely good musicianship by drummer Salazar,sax player Wallander (who has also played with TFK), and very good, if not great, keyboard and bass players, whose names are........... Roine Stolt! Yes, this music master not only is one of the best 6-strings player around but he also knows his way with the bass and with the keys, not limiting himself to supply the harmony and rhythm for his guitar playing but every now and then soloing, too!!

So, again, every music lover and prog lover (those two concepts should always be linked together, as the latter always is a music lover, but music lovers ignore sometimes there's such a wonderful art form as prog-rock) should give the swede master a try. This album is a masterpiece because it has great musicianship, great melodies, good "song" structures, memorable parts, it leaves you feeling better about life and about the survival of music in an era of musical destruction when a "good album" is a "platinum album".

Believe me, those 300 watching Stolt and buddies perform listened to 1000% more musi than the millions buying multiplatinum excrement (not that every platinum record is bad music, but let's face it, nowadays at least most of them are).

One final word: the only thing that bothers me about Hydrophonia is the booklet, which contains a dedication by Stolt to a few artists he admires... and I'm not talking about the dedication in itself (I don't know what he saw in Prince, but then again, Stolt knows a lot)... I'm talking about the humility with which he expresses about himself and his music... Hey!!! Wake up! Prog may not sell a lot, prog may not be induced in hall of fames or crap like that, but WE ALL know this is a musician art form , we all know that, in popular music, the only genre where the laws of harmony and melody and rhythm are used to a greater extent is this, prog-rock... It's an awful comparison, but Bach wrote to the Margrave of Brandemburg about the "humble natire of his works, not worthy of his master's ears".... one is the master of all time, the Father of Music, the Greatest of the all... the other is all but forgotten by history.... stretching it a little bit, Stolt should not speak apologetically about his music, for it is brilliant, authentic.....in a word... is ART.

This album really is something! Once again, Roine Stolt shows off his ability to compose catchy, fluent and inspiring music with what seems like minimal effort. Unlike his previous record, the magnificent 'The Flower King', this is a totally instrumental album. As before, Stolt handles all guitars, basses & keyboards himself, and some percussion too. Jaime Salazar is again in charged of the drum kit, and acquits himself splendidly. (I rate Salazar highly, but all The Flower Kings drummers are superb.) Ulf Wallander again appears on soprano sax. But the main man is Stolt. There isn't a weak track here. 'Cosmic Lodge', which opens proceedings, is powerful stuff with an almost anthemic beginning and end, whilst inbetween his playing is simply superb. His bass playing shows that he did indeed start out as a bass player, and his keyboards are not to be sniffed at either. But his lead guitar work is stunning. He is surely one of the greats on the instrument. The chord changes behind the lead lines are interesting too, I find. This is almost an emotional instrumental, yet at the same time precise and technical. 'Shipbuilding' has a ridiculously catchy melody with some nice Howe-like touches and flourishes, whilst Salazar shines particularly well here. 'Little Cottage By The Sea' slows the whole thing right down. It is gentle and atmospheric, and you can almost hear the waves lapping against the shore on this one. This track doesn't sound particularly complex, in fact it sounds quite repetitive in a way and simple, yet it manages to build in soft layers throughout the song, guitars flitting here and there like butterflies, little fills and gentle strumming combining to produce an almost ethereal effect. Wonderful stuff! 'Wreck Of The HMS Nemesis' lasts for almost 12 minutes, yet never flags or lets you lose interest. There seem to be more keyboards on this one, whilst the guitar work at times is almost used as a background instrument, not flashy yet well played. Around the five and a half minute mark, however, comes some super refined and beautiful playing, laid over an almost waltz-like rhythm. More keyboards follow, with the guitar playing all sorts of counter lines. This track, near the end, brings to mind The Flower Kings, but that is not surprising, is it? 'Bizarre Seahorse Sex Attack' is another beauty that grows on you. (I love the titles of the tracks on this album, all are to do with the sea, all are weird, and all are memorable!) This seems to start off with some type of marimba playing. I don't know why, but the melody and tone here reminds me of a children's piece, maybe involving teddy bears! Also, the composer/musician Tomita comes to my mind. But that may just be me. Lots of instruments are in action here, crossing over and through each other with ease and sounding quite captivating. When the guitar kicks in, with some nice wah wah, it does so in a most effective way, and at the end Wallander's sax helps the song wind down to an interesting halt. 'Oceanna Baby Dolphin' is probably, if I had to choose, my least favourite track, but there is certainly nothing wrong with it. Some background acoustic guitar work on this one overlays an almost laid back military drum style. The lead guitar is nicely played, as are the keyboards, whilst the bass is interesting. But the song doesn't quite hold my attention as well as the others do. Still not bad though. 'Nuclear Nemo' drifts in, explodes a little, then settles down to a menacing style, as the title might suggest. Driving bass and intricate drumming mix powerfully with Stolt's biting guitar. Three and a half minutes in the piece slows down, and guitar, bass and keyboards, along with the sax, provide a suspensful mood. The track ends in this slightly surreal way. 'Hydrophonia' begins gently, sweeping in on string synths, following which appears a brief snatch of female chorus effects, and then Stolt's guitar kicks in for another anthemic piece. The melody snarls and howls, before something strange happens at the two and a half minute mark: Steve Hackett appears! Yes, Stolt's guitar almost becomes Hackett, as he plays in a very similar style here. And breathtaking it is too. One of my favourite tracks this one. The main melody, along with the female-like chorus reappears at the five min mark, and the whole gels together seamlessly, before the Hackett-like guitar work fades out, accompanied by some sax. 'Lobsterland Groove' is another stand out piece. For some reason, this sounds to me very retro. The sort of track you may hear in a disco or nightclub in the '70s, but in a good way. The guitar almost sounds like the brass section at the one and a half minute mark. Percussion is wonderful here, both Salazar and Stolt in fine form. Wallander supplies some tasty sax from the two minute 20 mark, before the main guitar melody re- emerges. From four mins fifty five the guitar just takes off, with some almost jazzy playing, again with a touch of Howe, before supplying some searing lead lines as the track fades out. Brilliant. Finally, 'Seafood Kitchen Thing' ends the album. This, at nine minutes twenty five, is the second longest track on offer. An uptempo piece, it is classic Stolt/early Flower Kings in texture/composition. Salazar is again wonderful here, leading the line with some driving drumming. From the five minute mark, the whole thing seems to almost pause, allowing Stolt to supply some simply superb guitar work, bass work, and even some nice piano touches.The entire track builds up again to a fitting climax before winding down from the seven and a half minute mark to end with some short, tasty licks. Water is heard at the end, then footsteps and the impression is given that someone is approaching the recording equipment to turn it off. For Stolt fans, this is a must. It is a little different from The Flower Kings, but still recognisable as from that stable. It again showcases his talent for songwriting, and is a cd all lovers of instrumental guitar albums will love. The guitar work is inspiring, yet the melodies are never bogged down in a sea of overplaying, unlike a Steve Vai album. Easily four stars.

I always regarded Roine Stolt one of the best, if not the best, guitar player in the world. He plays the instrument just how I like it, with much energy and virtuosity and producing beautiful melodic solos.

But what I don't understand with this album is that when you have such enormous potential as a musician you do so little with it. Hydrophonia starts off with (by far) the best tune of the entire album, Cosmic Lodge, and I can still remember the first time I listened to this album, I was anxiously waiting for the next great guitar effort, but it wasn't coming !

The rest of the album is full of sweet sounding material but I can detect no more great energetic guitar playing. So I'm afraid I have to consider this as a disappointment, but that's just my personal taste and feeling about it. I'm not saying this is a bad album or this is poor music. I think Roine Stolt is too great a musician to produce poor stuff. Because of this all I will give 3 stars for this.

Roine Stolt(like Neal Morse) seems to have this endless supply of music to share with the world.He actually dedicates this album to "Frank Zappa,Miles Davis,Jimi Hendrix,John Lennon,Jon Anderson,Charles Mingus,George Gershwin,Allan Holdsworth and the artist formerly know as Prince." Roine is pretty much a one man band here except for help on sax from Ulf Wallander,and drums and percussion from Jaime Salazar.This is a good instrumental album, but in my opinion it's not nearly as good as his debut "The Flower King". "Cosmic Lodge" is my favourite, probably because it is the closest he comes to sounding like THE FLOWER KINGS.A rather dramatic intro as the guitar soars.It turns jazzy 1 1/2 minutes in.The guitar is great, and i really like the mellotron that comes and goes.The bass is also prominant played by Roine.They get back to the original melody 6 minutes in as the guitar soars with lots of mellotron.Nice. "Shipbuilding" has a catchy,uptempo 2 minute intro.It then settles down but starts to build.Back to original melody 4 minutes in. "Little Cottage By The Sea" is a pastoral track with the sounds of birds,acoustic guitar,piano and sax. "Wreck Of HMS Nemesis" opens on a bad note for me.Not a fan.It calms down before 2 minutes,sax follows.Kicks back in with more saxI like the melody 6 minutes in of intricate guitar and drums. "Bizarre Seahorse Sex Attack" features what sounds like xylphone(percussion?).Guitar and drums end up leading the way. "Oceanna Baby Dolphin" has a country flavour to the intro.Not a fan of this one. "Nuclear Nemo" is one i like once it gets going.The bass and drums are great.Prominant sax 5 minutes in. "Hydrophonia" has some nice soaring guitar in it and mellotron as well.Sax ends it. "Lobsterland Groove" has a nice beat to it with sax. "Seafood Kitchen Thing" has a good uptempo beat as guitar plays tastefully over top. A good album but i would take any FLOWER KINGS record over this one.