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The new Flower Kings album is a grand thing. I had heard
some of their earlier material and it went into one ear and
out the other at the time. This one however does not, and
is stuffed to the breaking point with intelligent tunes, fine
playing and lot of classic progressive influences. But the
one main difference between this album and similar material
from other acts is that the Flower Kings actually put some
emotion into the material and actually have SONGS rather than
chop-fests and Genesis worship. You can hear their influences
as well, but they don't clout you over the head with them.
And when they do, at least the material is catchy, melodic
and pleasant enough that you don't mind.***
PARADOX HOTEL is a lengthy 2-disc concept album which
basically offers the view of life on Earth as a hotel- you
check in at birth, and eventually you check out sooner or
later when you die. While there, you can use whatever life
gives you, much as one may use the lobby and the towels and
the shower and such in a hotel. On the way we meet some of
the other 'guests' but never share a room, as each person
has his or her own destiny. Roine Stolt and especially keyboardist
Tomas Bodin shine throughout. Stolt has been prolific of late,
yet has still managed to spit out a quality disc. His own
recent solo album WALL STREET VOODOO being less than a half
a year old.***
There's plenty of vintage keyboard instruments used here,
though perhaps they could have used some more modern keyboard
sounds. But the material is strong, so I suppose who needs
them.
In years to come, people will look on PARADOX HOTEL as
the Flower Kings' 'LAMB', 'THE WALL' or 'THE WHITE ALBUM.'
Everybody's gotta have an epic work, and this is theirs.
The disc is in two parts, ROOM 111 and ROOM 222.
Let's take a listen:
DISC ONE IS ROOM 111 and deals with various guests in
the Paradox Hotel, and each of their stories.***
CHECK IN:
The intro is a soundbite of some sort of Mission Control,
I suppose representing the birth of another 'tennant' into
the hotel of life, and the sound of a ping pong ball being
knocked around, I assume representing life knocking the person
around.***
MONSTERS AND MEN:
The first cut is the longest, a 21 minute epic which touches
on some classic epic progressive rock styles and influences.
Starts with some impressionistic piano and goes through many
styles. Fortunately, this is actually a SONG and not a display
of flashy chops and sounds and riffs lifted from vintage prog
bands. But if you were to dig into what influences, I hear
some classic Patrick Moraz in there. And maybe everybody else.
Thomas Bodin shines throughout and delivers classy playing
with feeling rather than mellotron everywhere because he thinks
you want to hear mellotron. But, hey, there's that too. His
playing touches on some atmospheres and emotions you may not
have had in a while. Vocals are pretty expressive, I kinda
expected another Gabriel clone or second rate alternative
prog-metal singer. There's a hint of John Wetton, but perhaps
that's more due to the texture of his voice rather than any
contrieved effort to sound like Wetton. This track goes through
a decent instrumental section and closes in anthmic style
with full symphonic bombast, and this is just the first track.***
JEALOUS BOY:
Shorter track which is a piano and synth arrangement
and vocals. On this reflective song, the vocals sound somewhat
strained as if trying to keep back emotion while still showing
it. There's a sadness to it, and briefly a little darkness.
This hotel guest is perhaps a lonely and, well, jealous individual.***
HIT ME WITH A HIT:
A more up track which is slightly accessible too. The
chorus is a little Neo but the verses are good 70's rock style.
Then there's the jammy section which is somewhat Santana joins
Porcupine Tree. This track is about the record business, but
I'm not sure if this hotel guest is the executive promising
superstardom or the naive musician with stars in his eyes
sucking in all they told him.***
PIONEERS OF AVIATION:
This one takes off and goes far, as the title implies.
One hel of an instrumental and possibly one of the better
ones you'll hear all year. Here Roine and his pals deliver
some classic instrumentation which goes somewhere and doesn't
merely slam you with symphonic arrangements and heavy organ
just for the sake of sounding like other bands you know. Lots
of instrumental fanfare, nice Moraz-like synths, nice bass
work, nice themes, nice, nice, nice.***
LUCY HAD A DREAM:
The first disc takes a turn for the darker for a few
tracks. This one goes into some Floyd-like guitar slides and
moves into a more Beatles styles and 'circus-of-the-macabre'
like imagery(think BENEFIT OF Mr. KITE). This one is about
a lonely woman who goes through many men throughout her stay
in the Paradox hotel, though never ending up anything but
hurt and dejected. ***
BAVARIAN SKIES:
Another darker track with treated vocals which are somewhat
eerie. This one tells of an exiled dictator or war criminal
who feels he's the one who has been wronged (perhaps about
Saddam Hussein?). Piano and symphonic arrangements throughout.***
SELF CONSUMING FIRE:
This one recalls some sort of Steve Hackett/John Wetton
collaboration with unmistakable acoustic guitar textures and
lush, exotic keyboards and mellotron. Nice guitar solos throughout.
The hotel guest this time is an executive woman who has perhaps
spent her life moving to the top, forsaking family and friendships
along the way. This track moves effortlessly into the next.***
MOMMY LEAVE THE LIGHT ON:
Simple and crushingly sad song about a perhaps dying
and bedridden small boy who wants comfort before he 'checks
out' of the Paradox hotel. The mellotron and guitar is somewhat
Genesis in their more mellow and reflective 12-string moments.
The simple and somewhat dark dreamlike nature of the music
gives these lyrics a strange sadness mixed with pity and fear,
you cannot help but feel empathy. ***
END ON A HIGH NOTE:
And that it does! The Kings offer up a somewhat YES-like
10 minuter with good harmonies and bass work. If you can imagine
Ray Wilson as the singer of YES, that's a little bit closer.
Goes through a great Paul Rodgers styled heavy rock section
with heavy guitar and organ before returning to some great
classical-style arrangements and some Wakeman-style synth
squiggling and Howe-like guitar during a cozy fade. This maybe
should have been the last track on disc two because it's a
strong track.***
DISC TWO IS ROOM 222 deals with how to deal with life
in the Paradox Hotel.***
MINOR GIANT STEPS:
Returns the Kings to more YES styled influences and is
another epic track like the one opening disc one. Plenty of
instrumental fanfare here and again, nice vocal harmonies
and Tony Kaye-like organ this time. 'Giant minor steps' I
assume implies take one step at a time towards your goal/dreams
etc., the first step is often the biggest.***
TOUCH MY HEAVEN:
Some electric piano and somewhat mufled sounding drums.
This is a slower, Pink Floyd-like number with nice soulful
guitar, shimmeringh organ and backing vocals towards the end.***
UNORTHODOX DANCING LESSON:
A somewhat Zappa-esque track which is funky and jazzy,
a hint of fusion madness. Try dancing to this and you'll probably
crack your own leg off in the proceedings.***
MAN OF THE WORLD:
One about another executive, traveling around on business,
who would rather be home with ones he loves. Good expressive
vocals here. This tracks bops along without stopping much
and offers up some more Moraz-y synth solos.***
LIFE WILL KILL YOU:
A rocking rock track which has a Deep Purple/Zeppelin
sound with some gleaming strands of electric piano which give
it even more of a 70's vibe. It is here when the vocals are
more soulful and 'Paul Rodgers-y' that the Kings shine the
most in the singing department rather than with the Wetton
style. The Flower Kings can often be a 'rock' band and have
no problem with playing rock. This track is basically about
the hardships of life, and the Mission Control voices returns
here to signify that another guest has 'checked out'.***
THE WAY THE WATERS ARE MOVING:
This one I believe is a tribute to the victims of recent
disasters like the Tsunami and Katrina. A reflective and sorrowful
ballad about a survivor who lost loved ones. The shortest
track on the album, three minutes and twelve seconds are all
that's needed to pay a worthy respect. Like 'MOMMY LEAVE A
LIGHT ON', this one hits home.***
WHAT IF GOD IS ALONE:
Some driving percussion and powerful vocals on this more
neo-styled track. This one is about how we're all connected
by soulless technology in the age of information, yet never
more alone and cut off from each other than ever before. It
may also offer the idea of God as a lonely being- how there's
one God but zillions of people, all out of touch with him.***
PARADOX HOTEL:
Back to a more rocking DEEP PURPLE/BAD COMPANY/GLEN HUGHES
sound here as the Kings go AOR rock on us, and bless 'em for
it. This song rocks with the best of them. But not without
some nice twin lead guitar and solid instrumental fanfare
as well. Play loud of course. You will bang your pointed little
head.***
BLUE PLANET:
The last track has us check out of the hotel, and offers
a view of how beautiful the Earth can be from way out in space
when seen as one entity without borders. The theme from 'MONSTERS
AND MEN' returns, and there's some fine Camel-styled textures
here. And with the sounds of Mission Control, the disc is
over. Fine album, one worth hearing again.***
I was much impressed with this album which didn't bore
despite each disc being over an hour each. There is an overabundance
of melody and good art rock to be enjoyed here with these
prolific guys. Roine Stolt, Tomas Bodin and the rest offer
something special here and not just another prog album to
pretend to like just 'cause it's got a mellotron on it. Well,
well worth a listen.
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