PARADOX HOTEL

'Paradox Hotel' is the ninth studio album by The Flower Kings, released on 4 April 2006. 'Paradox Hotel' is the band's fourth double-CD. This is the only Flower Kings album to feature drummer Marcus Liliequist (who is also on the live album 'Instant Delivery'). I love all the Flower Kings drummers, but if I had to choose, Marcus Liliequist would probably be my favorite Flower Kings drummer. Like Zoltan Csörsz, Liliequist has a jazzy touch on the drumkit, but is aware of when to hold back or play powerfully. His drumming serves the Flower Kings' music well and I wish he was in the band for a longer period of time. The first CD is titled "Room 111" and the second CD is titled "Room 222."

The opener, "Check In," is an audio excerpt of a countdown, which dramatically leads the listener into the first proper song, "Monsters & Men." "Monsters & Men" comprises of three sections: "I. Seasons of War," "II. Prophets and Preachers," and "III. Silent River." This 21-minute epic is often regarded as one of the weakest Flower Kings epics, and I couldn't disagree more with that opinion. Tomas Bodin's piano and keyboard work shines on this track and is what drives "Monsters & Men." I love the Gentle Giant-esque section during the midpoint. The emotional highlight of "Monsters & Men" is the "Silent River" section. The ending piece is grandiose and climactic. The final atmospheric seconds of "Monsters & Men" bleeds into "Jealousy," which is another piano-led piece with orchestral elements. After the copious piano music, "Hit Me With a Hit" is the rocking tune we were waiting for. The song is in 9/8 and screams Yes, particularly "Close to the Edge." There's also a hint of Zappa heard from the percussion. Jonas Reingold's bass and Roine Stolt's guitar reminds me of Chris Squire and Steve Howe, respectively. Hasse Fröberg's vocals even remind me a bit of Jon Anderson, though Fröberg has more grit than Anderson. "Hit Me With a Hit" brilliantly transitions from Roine Stolt's guitar solo back into the song. The sustain of Roine's guitar at the end of the solo is stunning. "Pioneers of Aviation" is a contender for my favorite Flower Kings instrumental, alongside "Circus Brimstone." Each musician shines on this song, especially Jonas Reingold and Tomas Bodin. Bodin plays church organ at points. The guitar melody of "Pioneers of Aviation" fills me with inspiration.

The second half of the first disc is the weakest spot on 'Paradox Hotel.' Tracks like "Lucy Had a Dream," "Bavarian Skies," and "Mommy Leave the Light On" are among the weakest Flower Kings songs of this era of the band. Fortunately, "Selfconsuming Fire" and parts of "End on a High Note" keep this half of the CD from being unlistenable. The former begins with mellow nylon string guitar, and gradually crescendos into a couple guitar solos. The latter reminds me yet again of Yes, the song this time being "And You and I."

The second disc of 'Paradox Hotel' is perfect. It opens with one of my favorite Flower Kings songs, "Minor Giant Steps." The oxymoronic title describes the evolution of humanity. Hasse Froberg's vocal performance on "Minor Giant Steps" is among his best. Fröberg is able to sing with bombast during the "Now we understand..." lyric and later with delicacy during the "I'm just a minor giant soul..." lyric, which demonstrates excellent vocal control. Overall, Hasse Fröberg shines on "Minor Giant Steps," and his performance moves me. "Touch My Heaven" was written by Tomas Bodin, and is one of my favorite pieces from him. "Touch My Heaven" is unlike any song in The Flower Kings discography. The first half is moody, and the ending guitar solo with the supporting backing vocals is a exquisite. "The Unorthodox Dancinglesson" should've been renamed "Larks' Tongues In Aspic (Part 6)." All joking aside, "The Unorthodox Dancinglesson" is a dissonant, King Crimson-inspired instrumental that, like "Hit Me With a Hit," has a Zappa element, mostly due to the use of percussion. Marcus Liliequist's drumming is phenomenal, especially during the explosive bridge. "Man of the World" is an accessible rock song in 11/8. "Life Will Kill You" is a contender for my favorite Hasse Fröberg composition, alongside "Magic Pie." "Life Will Kill You" is an excellent rock song filled with wonderful hooks. I love the juxtaposition between the jazz verse and the powerful chorus. "The Way the Waters Are Moving" is a heartbreaking piano ballad about (I believe) the Indian Ocean tsunami of 2004. "What If God Is Alone" is one of my favorite Flower Kings songs and lyrics. This song was written by Jonas Reingold and is my favorite composition from him. The first minute of "What If God Is Alone" is hauntingly atmospheric, and finally the music builds to the first verse. Roine Stolt sings lead vocals during the first two verses and the rest is sung by Hasse Fröberg. The end section makes me cry and is the climax of 'Paradox Hotel.' Every musician is playing with maximum power by the end. Roine Stolt plays a superb guitar solo alongside Fröberg's heavenly vocals, creating an orgasmic combination. We're in the final stretch. The title track is a heavy rock song with catchy hooks. The closer, "Blue Planet," is another favorite of mine. Essentially, "Blue Planet" is a reprise of "Silent River" from "Monsters & Men," which gives 'Paradox Hotel' some cohesion. It's strange to hear a theme that you heard from two hours ago. Nevertheless, the music is beautiful and melancholic. As if I wasn't emotionally drained by this point already, the lyric, "I just want to keep the dream forever, and I never want to leave. I wish that everyone could see and feel the way I feel," hits me like a ton of bricks. The last few minutes of "Blue Planet" ends 'Paradox Hotel' similarly to how it began.

In conclusion, 'Paradox Hotel' is the closest The Flower Kings have come to reaching the height of 'Stardust We Are,' my favorite Flower Kings album. I have a strong emotional connection with this album. It pains me not to give 'Paradox Hotel' five stars, but there are some superfluous tracks towards the end of the first disc that ultimately hinder this album from being perfect. However, the first half of the first disc, as well as the entire second disc, are flawless in my eyes.