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██▌ Artist...: The Flower Kings ░▐██▌
░▐██ Album....: Love ░██▌░
▓▐██ Year.....: 2025 ▓▐██▓
▓▐██ Rel. Date: 2025-08-05 ░▐██▓
▐██ Genre....: Progressive Rock ██▌░
░ ██▌ Label....: Inside Out Music ██▌
▐██ Source...: CD ▐██
░▐██▌ Type.....: Album ▐██▌░
▓▄████ Quality..: VBR, 44.1kHz, Joint Stereo ████▌░
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1. We Claim the Moon 6:34
2. The Elder 11:09
3. How Can You Leave Us Now!? 5:55
4. World Spinning 2:10
5. Burning Both Edges 7:49
6. The Rubble 4:23
7. Kaiser Razor 2:32
8. The Phoenix 3:40
9. The Promise 3:58
10. Love Is 6:06
11. Walls of Shame 7:00
12. Considerations 10:14
71:30
Just when I thought I was out reviewing all my Flower Kings records (not
really out û since wrapping up last year I picked up another 3 albums
from them), Roine Stolt and co. had to go and release another record.
And not just any record; the simply-titled LOVE is to my ears the
strongest set of tunes the band have put out in recent memory. Maybe
even their best since reforming in 2019. Not at all what I was
expecting, especially since they continue to move in a less progressive,
more song-structured focus but hey, when you have songs this strong I
donÆt mind the lack of 20-minute epics and conceptual suites. I want
strong tunes with great playing, and LOVE delivers both.
Even in my own head thereÆs a mental disconnect on how good LOVE is.
ItÆs a continuation of the shorter, less prog-forward songwriting Stolt
brought forth with 2023Æs Look At You Now, though now with his band
firmly locked in place. Alongside Hasse Fr÷berg on co-lead vocals and
guitar and his brother Michael Stolt on bass, he has a permanent
keyboardist in Lalle Larson who previously was a live touring member,
and Mirko DeMaio who continues on drums since the bands return in 2019.
And as I listen I think the difference can be chalked up to his
chemistry with the band û perhaps no coincidence this is the first album
in forever where Stolt isnÆt writing everything. And with that chemistry
Stolt sounds freer than he has in forever, his guitar playing is sublime
throughout LOVE, taking on a much more bluesy feel despite the lack of
outright rockers.
The first batch of songs are particularly strong. Opener ôWe Claim The
Moonö might be the most rocking track on the album, the band slowly
fading into with a crunchy riff that accentuates DeMaioÆs steady drums
work and lets both Stolts and Larson run around with small but engaging
pieces before Fr÷bergÆs lovely voice comes in for the lead. There are
plenty of choice passages and flourishes to put this in line for classic
Flower King status. Next is ôThe Elderö, one of two mini epics at just
over 11 minutes and itÆs much more in line with the rest of LOVE: pretty
melodies and a more laid back, easy vibe to StoltÆs typical happy hippy
Christian themes. Fr÷berg again takes the lead vocally, but StoltÆs
unique voice accentuates the song with lines peppered throughout. And
speaking of Stolts, MichaelÆs bass playing is fantastic. It might be
blasphemy to say, but heÆs a more natural, integrated fit than Jonas
ReingoldÆs more flashy, overt tone and technique. The song breaks for a
terrific solo and lets its second half linger with numerous instrumental
breaks even as the vocals are sprinkled in and out.
That laid back layered vibe takes on a slightly melancholic tone with
the songÆs first single, ôHow Can You Leave Us Know?ö. ItÆs a lovely,
very pretty song, but sequenced right next to ôThe Elderö and acting as
the first single for the album might be one of the few, small issues I
have overall with the album. Fortunately the vibe breaks with the brief
keyboard instrumental ôWorld Spinningö written by Larson which I find
delightful before it hits with ôBurning Both Edgesö which is the other
single from LOVE. ThereÆs a lot of classic rock DNA in the song, and
StoltÆs guitar work is superb, super tasteful and in service to the
song.
As the album moves into its middle section featuring a number of shorter
songs I think this concept of being ôservice to the songö is what really
sets LOVE apart from its more recent predecessors. ThereÆs a sense of
cohesion to everything, and when the band shifts into different styles
as they do on the murky, early 80s influenced ôThe Rubbleö it sounds
alive and engaged. I love the organs and the weird Procol Harum vibes
ôThe Rubbleö gives, and Hasse Bruniusson makes a return to the band to
provide great percussion touches throughout. ôKaiser Razorö is another
short instrumental, focused on StoltÆs guitar before pairing into a full
band melodic sprint. The only other small misstep is the pair of tracks
that follow: IÆll admit to having a hard time clinging to anything on
ôThe Phoenixö and ôThe Promiseö. Both are lighter, ballad fair, with
Roine taking the lead vocals. ôThe Promiseö benefits from some nice
accordion courtesy of guest Aliaksandr Yasinski and takes its more folk
influence to a better place than ôThe Phoenixö which while boasting
another lovely guitar solo kind of leaves me as soon as it ends.
After the suite of shorter tunes, LOVE closes out really strong in its
final tracks. ôLove Isö might as well be the title track, and itÆs a
great energetic full band effort, meaning everyone is pulling up and
laying out their best tricks for the engaging rocker. Lots of fun
keyboard stabs from Larson, some powerful rock drummer from DeMaio, and
did I mention how great StoltÆs guitar playing is? Because itÆs
fantastic, and despite LOVE not being the heaviest of albums it might
boast some of his best guitar work in forever. ôWalls of Shameö is
classic Flower Kings: beautiful melodies with a killer Hasse Fr÷berg
vocal, breaks and segues and a beguiling guitar solo that almost but
doesnÆt quite hide how much fun Michael Stolt is having exploring every
space in the song with his bass. The keyboard work is fantastic û
another huge lift over Look At You Now which was mainly Stolt doing the
keyboards himself. IÆve seen some criticism over Larson not being Tomas
Bodin, and well yeah: heÆs not. But like Reingold (whoÆs happy putting
out his own music) I can hear Larson fitting in much more seamlessly in
the band, and when he shines heÆs incredible.
That leaves the closing epic ôConsiderationsö to provide maybe the
biggest surprise on LOVE; itÆs written and sung by Michael Stolt, along
with Jannica Lund. An epic û a closing epic (well, as epic as you can
get in 10 minutes)- and itÆs not written by Roine Stolt? IÆm as shocked
as anyone, and after getting used to StoltÆs much deeper voice IÆm kind
of delighted by how fun it is. Maybe the most stereotypical ôprogö track
on LOVE, it gets downright funky in moments, Stolt letting his guitar
zip along with fun lines while Larson again stands out with his organ
(ewww) and electronic flourishes and a great solo spotlight.
LOVE did not need to be this good, especially 17 albums into the bandÆs
career. But good it is, even great. I was honestly afraid after Look At
You Now that the band might fade quietly into their twilight, but Stolt
proves that quiet doesnÆt mean tired, and thereÆs still plenty of
creativity and drive left. LetÆs hope it continues; in the meantime IÆm
plenty happy to spin LOVE another dozen times this week.
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