LOVE

We have a pretty good new album by The Flower Kings, their seventeenth studio release, to be precise, the aptly titled 'Love'; and with this rather plain and broadly-suggestive title, together with the gorgeous album art, this new TFK offering is definitely a mellower, harmonious and swiftly developing work, with the band turning their backs on their more explosive and instrumentally intense side, prioritizing songwriting, feel and melody above anything else, as it seems. The addition of Lalle Larsson as a full-time band member pays off rather brilliantly, as the experienced keyboard player brings a flavor of fusion to the mix and displays an overall classy performance with his vast array of keys and synths gracing the songs on the album. Michael Stolt, one of the founding members of the band continues to handle all bass duties, while relative newcomer Mirko DeMaio appears on his fifth TFK album, making him one of the longer-lasting drummers of the band. Hasse Fröberg provides some excellent vocals, while band leader Roine Stolt covers all other aspects of this work.

Musically, there is perhaps nothing incrementally different from the rest of the more recent Flower Kings albums, after the band's 2018 reincarnation, yet 'Love' seems to be a more consistent release with a decent flow and a good balance between shorter and longer entries. The album's pace is kept all within the lower registers here, with the music being really atmospheric and hypnotic at times, with some soulful guitar and keyboard solos. The vocal harmonies between Stolt and Fröberg are gorgeous and represent one of the key elements making up the swaying emotionality of 'Love'. And with a bit of blues, bit of influence from classical music, fusion and classic 70s prog, what the listener is in for here is a solid work by a band of veterans who are trying out to work on some more laid-back stuff.

Opening track 'We Claim the Moon' is among the highlights, it is a pacey and uplifting piece with that typical Flower Kings flamboyancy. 11-minute epic 'The Elder' is excellent, a moody and reflective piece, as is the third track 'How Can You Leave Us Now?'. 'Burning Both Edges' once again very melodic, some tremendous vocals are to be enjoyed here. Towards the end we get the fine pieces 'Walls of Shame' and the 10-minute album closer 'Considerations', a more typically-structured TFK song that works very well and has Michael Stolt doing the lead vocals. It is only in the middle that this album seems to be more uneventful, but overall, 'Love' is enjoyable and plentiful, if you are ready to embrace its oceanic sways.

Love, the latest Flower Kings album, finds the band in a gentle and low-key mood. Whereas the band's back catalogue is full of energetic, rambunctious, extremely busy and intricate music, Love finds Roine Stolt and company not averse to kicking back, calming down, and keeping it simple. That isn't to say they've stopped being prog by any stretch of the imagination - after all, think of how Yes, one of the Kings' major influences, wove moments of gentle beauty into their music in between the outbursts of technical wizardry, something which has always been something of a factor in the Kings' music.

Just because the pendulum's swung towards a quieter and more introspective approach doesn't mean this has become easy listening, mind - this is an album of melancholic contemplation of the state of the world, shot through with a strong vein of optimism and hope which is just the message we need to hear in the present moment. It's not a top-flight classic, but it surprised me at a point in the band's career when I wasn't expecting to be surprised, and that counts for something.

The Flower Kings are back with their 17th studio album, following on from 2023's 'Look At You Now' with Roine Stolt (vocals, electric, acoustic, 6- & 12-string guitars, ukulele), Hans Fröberg (vocals), Michael Stolt (bass, moogbass, vocals) and Mirko DeMaio (drums, percussion) now welcoming Lalle Larsson (grand piano, Rhodes piano, Hammond B3, synthesizers) as a full member after guesting on one track on the last one. Roine and Hans have been with the band since it was formed by Roine in 1994 as a way of performing his solo album of the same name, while Michael came back to the fold in 2021 after more than 20 years away, so they certainly have strong ideas on what they want to achieve, with 10 of the 12 numbers composed by Roine.

I will always have a soft spot for this band, as they were the first group my youngest daughter ever saw play, sat on the stage in awe of Roine. But we all know that they can have an annoying tendency not to edit where they should, and their albums are at times over-long. Here they have managed to keep it down to 75 minutes and a single disc, but even so I did find there were instances where I felt it could have been tightened up. Yes, there are wonderful arrangements with great guitars while the keyboard playing has also improved on the last release, and there are some wonderful retro sounds, while the fretless bass on the introduction of "How Can You Leave" is delicious, and Hans is singing as well as ever, but for me there is something missing, I am just not sure what it is. There is a feeling almost of this being worked through as an exercise as opposed to something that is dramatic and exciting, with less of the dynamics and contrasts which are needed to stop the listener from being smothered.

It is incredibly dated, pulling us back some 50 years, but that has never been an issue for me, it is just that the emotions are muted and dampened, which is somewhat strange given the album title. Putting all that negativity to one side, this is still an album I have enjoyed listening to, it is just that it is not as essential as some of their others although I am sure there are many out who will be giving this very high praise indeed. It's just that I am not one of them.