THE FLOWER KINGS

Well I guess its time to review the album in my profile picture. The Flower Kings' fast rise to the top of the progressive rock community was equal to their recording pace. The two hours of music on "Stardust We Are" completed a four-album run in a little less than four years. Roine Stolt's creativity seemed without limits, but listening to this two-CD set, one finds a little more filler than usual, mostly in the form of poppier tunes (like "Different People," "Kingdom of Lies," and "Compassion") and short instrumental pieces meant as bridges between more significant songs. Strangely, it didn't affect the album's cohesion or interest (it wouldn't be the case for Flower Power) and, although it could have been stripped down to an even stronger 75- minute CD, Stardust We Are made a strong impression and opened the U.S. doors for the Swedish band. The opener "In the Eyes of the World" has the strength and positive drive of the best Stolt songs and became an instant live classic, as did "Church of Your Heart," which also contained all the Flower Kings trademark ingredients: a memorable melody; intelligent shifts in time signature, speed, and key; lush arrangements; spirited musicianship; heartfelt vocals (alternating between Stolt and Hans Fröberg, depending on register and the emotional effect required); and a positive attitude toward life. "Circus Brimstone" is a strange and complex instrumental piece with backward voices inherited from Frank Zappa -- one of Roine Stolt's least-suspected influences. Disc two contains less strong moments: "The End of Innocence" is a good track, but afterwards it seems "Different People," "Kingdom of Lies," and "If 28" are just there to kill time before the epic "Stardust We Are," a 25-minute tour de force, full of well-developed music ideas seamlessly stitched together. More cohesive as a whole than the previous album Retropolis, but it remains one of the very good Flower Kings albums, by far my personal favorite of the Flower Kings discography and one of my favorite albums of all time.

The 1990s was a great decade for more progressive rock and metal revitalization. Dream Theater made their breakthrough album in 1992, Porcupine Tree started to become popular around that time too. Spock's Beard debuted with The Light in 1995. Opeth was picking up the pace along with many other prog metal groups. It was around the mid-1990s that a less known prog group under the work of guitarist and vocalist Roine Stolt would be created. After finishing his solo album, the "Flower King" his next work would make a studio album involving the group he had worked with in his solo album. This album would become Back In the World of Adventures.

The first thought that may come to mind is this: will the Flower King's first studio effort still sound like it should be a solo artist album? It has happened many times before and after. Zeitgeist was considered as just another Billy Corgan work. The same could be said about Genesis's Invisible Touch with Phil Collins. At first when listening to the first song or two, it may seem like just another Roine Stolt album, but as the album progresses, there are moments in which the drummer or the keyboardist steals the show for a while. So, it is not completely a soloist album. However, it still has its signs to make other listeners think differently. And since this was only the first Flower Kings album, the music was still developing. So, there are places in the album that may be questionable. Other than that, Back in the World of Adventures is mostly composed of good elements.

One nice factor is that Stolt is continuing to improve both his vocals and his guitar playing from his previous works. He adds more emotion into his voice and puts more of a mood to his guitar melodies. Take for example, Stolt executes more difficult solo passages, heavier riffs, and builds more onto the foundation of the group. This only helps them more than they already were.

All the other members as well as Stolt seem to know their prog rock pretty well. They appear to make their music off of the influence of older albums. Oblivion Road sounds like a cross breed between something from Any Colour You Like by Pink Floyd and Moonchild by King Crimson. Perhaps the same could be said about Temple of Snakes. There are times when Theme For a Hero, World of Adventures, and Atomic Prince gives you the ballad feel of Close to the Edge.

The Flower Kings aren't just good at knowing their prog elements in their first album. They also know each of their instruments pretty well too. Roine's brother, Michael, who plays the bass, could possibly match up his level of musicianship with him. The only factor that prevents that from happening is that Stolt has more experience in more instruments than his brother does. Thomas Bodin plays very beautiful keyboard passages throughout the album, giving it more magic. Hans Bruniusson and Jaime Salazar both have a nice percussion talent that gives the album more flavor, rigor, intensity, and eccentricity. And the soprano sax is like the spice; thus completing the recipe that is the Flower King's first album. This proves that the Swedish can make some pretty neat progressive rock.

Another great advantage of this album is that each of the songs is pretty well spread out in time length. The songs longer than 10 minutes are guaranteed to keep the listener busy and interested while the shorter songs are fun, catchy, and contain some the more upbeat feeling to bring the listener back to focus. And another plus: The Flower Kings's content blooms with some of the greatest modern prog elements without sacrificing the older, more traditional ones. This is where another nice sense of balance in the music is found. The only content this album could have used more of is some more moody tunes.

So to conclude, The Flower King's first album is a pretty well done effort, showing a good deal of musicianship, progressive rock content, and balance. There were minor flaws in the first album, but there were more positive impacts in it than bad ones. The Flower Kings would continue to improve over the years until there were even better albums such as Space Revolver, Stardust We Are, Unfold the Future, and much more after this. All of this would be because of an album that brought a new prog rock band to life.

The Flower Kings shuffle their discography on latest live release titled 'Live in Europe 2023', capturing one of the final shows of their tour recorded in the Netherlands, presenting a recording of six tracks, both old and new that really put on display a mature band of veterans who have been focusing on the more serene side of their music recently. The recording is quite well-made as you would expect from TFK as we have a live album on which each member is able to shine through in their respective ways (as the lineup features Roine Stolt, Hasse Fröberg, Michael Stolt, Mirko DeMaio, and Lalle Larsson); we can definitely speak of a brilliant mix by Roine Stolt.

The album opens up with a 'Garden of Dreams' medley, quite a nice rendition of the one-hour long suite, with the band focusing their efforts on the instrumental first half; then comes 'Big Puzzle', which predisposes Stolt and Co. to exercise their bluesy side. We then have two mellow tracks from the latest studio album 'Look at You Now', followed by 'What If God Is Alone' from 2005's 'Paradox Hotel', and finally, there is the classic epic 'Stardust We Are', a lovely playthrough of which graces the last half hour of this live album. This is a great addition to the band's discography that captures one of their really fine shows of 2023.

Swedish band The Flower Kings was founded in 1994, after a number of band members assisted singer/guitarist Roine Stolt earlier that year during the recording of his solo album "The Flower King". The group's popularity is increasing rapidly and after just a few albums they are commonly deemed, the standard bearers of progressive rock, together with Spock's Beard. These musicians owe this title entirely to themselves. Especially the musical capability and the own identity that is created with it is unprecedented. In particular, the achievements of frontman Stolt and his keyboard-playing colleague Tomas Bodin are top-notch. On "Retropolis" from 1996, their sophomore album, as discussed here, it is clear that their rapid rise to fame is more than justified.

First of all, the cover artwork catches the eye. We see part of an imaginary city called Retropolis. The time factor does not seem to exist as past, present and future merge into each other. A look at the booklet makes it clear that this has led to poetic lyrics. Musically, this gives you license to justify the large number of tempo and atmosphere changes. Necessary, because "Retropolis" is full of said changes. Inherent to progressive rock, The Flower Kings know how to let their music, heavily inspired by Genesis and Yes, go in all directions.

After the ping-pong sounds of the short opener Rhythm Of Life, which I think is a variation on a heartbeat, the instrumental title track follows, lasting eleven minutes. Here Stolt and Bodin give free rein to their creativity, resulting in a tasteful and lush song that captivates. It is a series of bombast, cinematic music and Santana-like jazz prog with wonderful Hammond playing. In addition, there are things like psychedelic darkness, lots of exuberance and a brilliant ending with acoustic guitar. Anyone who accuses The Flower Kings of copycat behavior is missing the point in my opinion, this song (and actually the entire album) shows a lot of their own identity, my brothers and sisters. The subsequent Rhythm Of The Sea has a mild character with a beautiful synth line. Stolt makes himself immortal once again with his elusive touch. It's the perfect precursor to the album's three highlights to come.

There Is More To This World: get a load of this. It goes through life as a wonderful song for the first few minutes until the acoustic guitar makes its appearance and Hasse Fröberg takes over on lead vocals. What happens then is magical. Fans of the angelic voice of Jon Anderson (ex-Yes) can indulge themselves here, especially when Fröberg increases the intensity. At the end the chorus from the beginning returns and Fröberg and Stolt together sing the song to an end. Extraordinary.

Another highlight is undeniably the instrumental The Melting Pot and yes, it is indeed a gigantic melting pot of styles. Here the band mixes progressive rock with fusion and world music, with Ulf Wallander trying to blow the copper from his sopranosax like a true Klaus Doldinger (Passport). Great!

The third wow song is the slightly heavier The Judas Kiss, a catchy song with strong guitar lines and a somewhat jumpy synthesized bass section. It's funny that the song is full of barking dogs and howling wolves, the lyrical protagonists. Halfway through the band ends up in dark jazz after which it goes in all directions. We also find such bursts of creativity in the catchy Silent Sorrow, where the atmosphere changes after a few minutes. This time the band comes with smooth jazz blues in all colors of the rainbow.

For variation, there are also three tracks composed by Bodin. In addition to the aforementioned opener, these are the piano intermezzo Romancing The City and the electronic Retropolis By Night, which builds on a keyboard theme from the title track. It's also nice to be able to step out of the atmosphere of the album to refresh your mind for a while.

The last two songs form the finale of the whole. Flora Majora is a beautiful instrumental track with a stunning melody that is a finale in itself. The majestic The Road Back Home then finalizes it completely. Filled with a host of reflective feelings, it's over.

"Retropolis" is an incredibly exciting CD. The subsequent albums "Stardust We Are" and "Flower Power" are a bit better, but the desire to return to "Retropolis" is always there.

Orginally posted on www.progenrock.com

This is an essential for fans of symphonic prog and of The Flower Kings. A great song selection that includes recent and old classics. The recording and production, as well as the high level of singing and playing make this such a joy to listen to. Nicely balanced production and such a clear recording that works in the car, the home sound system or headphones. There isn't any filler on this release. Just want to play it again as soon as it's over. Would be great if this release was supported with a video of the concert.

After a long spell, I´m back to ProgArchives. I decided to start by the new Flower Kings album, Look at You Now, because I think this is really an important CD, at least for me. I must say I was not specially taken by the post Tomas Bodin FK albums . Islands (2020) for instance, is one I still find hard to relate. Its follow up did not move me much either, and I tended to think that the band lost something around the pandemic year. I wondered if the last great abum to bear the Flower King moniker was 2018´s The Flower King: Manifesto of An Alchemist, even if it is cited as a Roine Stolt solo album (but it is not, really).

It all changed with Look at You Now: although this record follows the group´s recent trend to keep on writing shorter songs, this CD has a freshness and energy I haven´t seen in any FK output for years. Superficially the new songs seem not as good as they really are, but upon listening to the album a few more times, I got the same feeling I used to when I heard their 90´s classics. The band is in great shape and it was a joy to hear those classic guitar lines, very much in the vein of Steve Howe, back into the tunes. Was it something to do with the chemistry of having brother Michael Stolt back in the group? did it help the songs turned out so much better and inspired?

Whatever the true reasons, the fact remains that this CD moved me like the Flower Kings used to. Of course it is not another Retropolis or Stardust We Are, but the spirit is back. It´s like they now don´t need to write an epic of sorts to make some point. In fact, the short songs sound just like they should. Look at You Now is like a mix of the "old" Flower Kings with the more concise stuff they´re writing lately. It seems they finally found the right balance and I hope they continue in this path. With no fillers and with an excellent flow, it´s a real nice surprise.

Final rating: something between 3,5 and 4 stars. It may not be essential, but it is more than just very good.

'Look at You Now' is the sixteenth studio album by The Flower Kings. The album opens with the upbeat track "Beginner's Eyes." The following track, "The Dream," starts subdued and progressively crescendos, while maintaining serenity. The melody during the verse of "Hollow Man" reminds me of "Sympathy" by Rare Bird. The chorus is grandiose and contains magnificent vocal harmonies. The instrumental "Dr. Ribedeaux" features wonderful lead guitar playing from Roine Stolt and keyboard playing from Micheal Stolt. "Mother Earth" is essentially an apology from humanity to the Earth for our negligence towards the environment. Micheal Stolt sings lead vocals on "Mother Earth." He sings in an operatic style, and I quite like it. "The Queen" is another instrumental with an appropriate title, given the regal quality of the music. Mirko DeMaio's drumming on "The Light in Your Eyes" is excellent.

I like the trading vocals between Roine Stolt and Hasse Fröberg on "Seasons End." "Scars" and "Stronghold" are a bit forgettable, though both songs have climactic endings. I love the driving 7/8 rhythm of "Father Sky." My favorite song on 'Look At You Now' is "Day For Peace," which features Marjana Semkina of Iamthemorning. Both her and Stolt's vocals together are exquisite. DeMaio's marching snare drum is also a nice touch in the background. The eleven-minute title track closes the album. The music ebbs and flows from tranquil sections to more driving sections. The end of the closer references the opening track of the debut Flower Kings album, "World of Adventures." Which begs the question: Is this the Flower Kings' swan song? You would think, as it makes sense to end your career by bringing everything full circle, like they did here. If this is the final Flower Kings album, then they went out on a strong note.

'Islands' is the fourteenth studio album by The Flower Kings, not to be confused with the King Crimson album of the same title. 'Islands' is a COVID record, hence the title. Roine Stolt has claimed that 'Islands' is meant to be regarded as one, giant suite of music. However, the tracklist of 'Islands' indicates that the album comprises multiple, independent songs. The Flower Kings are known for writing lengthy epics. 'Islands' consists of concise songs, which is a breath of fresh air. I was disappointed by the previous Flower Kings record, 'Waiting for Miracles.' When I contemplated the iconic Roger Dean album artwork, I had some hope (from the album art alone) that 'Islands' could be a return to form for The Flower Kings. I'm pleased to say that what I hoped for was true.

The album opens with the incendiary "Racing with Blinders On." A pulsating 7/8 rhythm section, provided by Jonas Reingold's powerful bass and Mirkko DeMaio's acrobatic drums, lays the groundwork. Roine Stolt's guitar and Zach Kamins' keyboards play intricate melodies on top of the rhythm section. The vocals appear during the second half. I love the lyric, "Don't let the sadness grow and grab you. Don't let it take away that dream." "From the Ground" is a jovial song that I can't help but feel good listening to. "Black Swan" is a Queen pastiche. Roine Stolt's harmonizing guitars sound exactly like Brian May. Even the music of the verse reminds me of "Killer Queen."

"Morning News" is a simple song with a country twang. I like the classical guitar licks that are sprinkled throughout. The lyrics of "Broken" use the template, "Too many (this), too many (that)." The music resolves to the Yes-like chorus in 5/4. "Goodbye Outrage" is a classical piece that Stolt co-wrote with Kamins. Despite being less than two-minutes in duration, "Journeyman" is a highlight of 'Islands.' "Journeyman" is an instrumental that was written by Kamins. On this interlude, The Flower Kings hark back to the jazz fusion elements of 'Unfold the Future.' Like "Goodbye Outrage," Stolt also co-wrote "Tangerine" with Kamins. "Tangerine" has an irresistible groove and excellent bass playing from Reingold.

I adore the orchestral section of "Solaris" that culminates in a mellotron choir. There is a musical reference to "Stardust We Are" at the end of "Solaris." "Heart of the Valley" references the main lyric of "Morning News." Roine Stolt plays a climactic guitar solo on the instrumental entitled "Man in a Two Piece Suit," which closes the first disc of 'Islands.'

The second disc opens with a Hasse Fröberg piece entitled "All I Need Is Love." This is a great melodic pop/rock song that is incredibly catchy, despite having a chorus that's in 7/8. The vocals and instrumental of "All I Need Is Love" are both equally phenomenal. "A New Species" is similar to "Ascending to the Stars" from the previous record, in that it's an instrumental that utilizes orchestra programming. "A New Species" starts with atmospheric synths and an arpeggiated classical guitar. Eventually, the song becomes electric and allows each musician to shine. The yearning lyrics and beautiful melodies of "Northern Lights" make it a highlight of 'Islands.' Most of the song is in 7/8, but it's fairly simple.

Like "Journeyman," "Hidden Angels" is a brief, instrumental jazz interlude that was written by Kamins, and is the precursor to "Serpentine." Rob Townsend, who I know from Steve Hackett's band, plays soprano saxophone on "Serpentine." Townsend's saxophone playing elevates this song significantly. During the "Make it happen" lyric, the time signature shifts from 10/8 to 11/8. "Looking for Answers" is an instrumental that features a guitar solo from Stolt. "Telescope" borrows the lyrical motif ("the world is opening like a rose") from "Morning News." "Telescope" also features a guitar solo from Stolt.

"Fool's Gold" reinvigorates the second disc a bit, though it's not the most memorable. "Between Hope & Fear" is pleasant, but considering that it's the penultimate track, I was expecting a song that was more intense. The closing title track starts, fortunately, feels like a proper ending to 'Islands.' The title track is a grandiose instrumental that somewhat reminds me of the ending to "I Am the Sun." The music is slow and powerful, and Stolt's lead guitar work is extraordinary as always.

In conclusion, 'Islands' is an excellent addition to any prog rock music collection. The first disc and the beginning of the second disc are very strong. 'Islands' loses a bit of steam towards the end. Therefore, I will rate 'Islands' four stars.

'Waiting for Miracles' is the thirteenth studio album by The Flower Kings, released six years after its predecessor, 'Desolation Rose.' The most noticeable difference on 'Waiting for Miracles' from all the Flower Kings albums that preceded it, is that Tomas Bodin is no longer in the band. I don't know exactly what happened in regards to his departure. All that I know is that he's not in the band, and his absence is felt. That's not to discredit American keyboardist Zach Kamins, who does a marvelous job of filling Bodin's big shoes. Kamins even has his own writing credits on a couple tracks. Bodin wasn't just a keyboardist, but also an excellent composer and arranger for the music of The Flower Kings. In my opinion, the songwriting suffers from his absence. 'Waiting for Miracles' is the first album to feature, from Italy, Mirko DeMaio on drums and percussion.

The album opens with "House of Cards," which is a piano piece that was written by Kamins. This is a promising prelude that I think could've made a beautiful introduction to an epic. Unfortunately, once we get into the album proper, starting with "Black Flag," my hope diminishes. What's even more unfortunate is "Black Flag" is one of the better songs on 'Waiting for Miracles.' It feels like a continuation of what we heard on 'Desolation Rose' in that the music is dark, albeit for Flower Kings standards. While I do love 'Desolation Rose,' "Black Flag" retreads old ground. There are good ideas presented in the song, but as with many latter-day Flower Kings songs, it could be executed better. The Hammond organ intro to "Miracles for America" is also promising, but then again, the music meanders. I lose interest in "Miracles for America" within the first three minutes.

The vocal harmonies in the beginning of "Vertigo" are pleasantly atmospheric. Hasse Fröberg's vocals are warm and inviting. Roine Stolt plays a guitar solo towards the end of "Vertigo." "The Bridge" is a piano ballad in the vein of "The Way the Waters Are Moving." The second half is electric and features a guitar solo from Stolt. "Ascending to the Stars" is an orchestral piece that was written by Kamins. Paul Cartwright plays violin and John "Zach" Dellinger plays viola on "Ascending to the Stars." The music is so cinematic it almost doesn't fit on 'Waiting for Miracles,' as if "Ascending to the Stars" was taken from a completely different album. The starting music sounds like something from 'Interstellar,' and then it erupts into heavy musical passages.

"Wicked Old Symphony" is the most accessible song on 'Waiting for Miracles' with a pleasant chorus. "The Rebel Circus" is an instrumental that features a guitar solo from Stolt. There is a brief reprise of the "Miracles for America" theme on 'The Rebel Circus.' "Sleep With the Enemy" is a bit lackluster, but it's not horrible. "The Crowning Greed" begins as an instrumental with more lead guitar from Stolt. The ending is a reprise of "The Bridge."

The strangest part of 'Waiting for Miracles' is that there are two CDs, but the second one is far shorter than the first, with a duration of just over 20 minutes. The two previous Flower Kings albums had bonus discs. You would think that this second disc is a bonus disc, right? Quite honestly, I don't know if it is or isn't, because it's marketed as being part of the album proper. "House of Cards Reprise" is exactly what the title says. "Spirals" is an electronic piece that starts atmospheric and then develops a groove. Suddenly, the music explodes. Unfortunately, after this exciting moment, the music doesn't really go anywhere. "Spirals" contains playful "da-da" vocals, accompanied by a jazzy rhythm section, provided by Mirko DeMaio and Jonas Reingold. "We Were Always Here" starts with a tribal drumbeat and evolves into a wonderful, melodic song. "We Were Always Here" is probably my favorite song on 'Waiting for Miracles.' The minute long closing track, "Busking at Brobank," is a blues ditty featuring what sounds like a theremin.

In conclusion, 'Waiting for Miracles' is a disappointing release from The Flower Kings. The music isn't bad, but it lacks the creativity that was apparent on its predecessor. There are some solid tracks like "Black Flag," "Ascending to the Stars," and "We Were Always Here." However, the rest of the material of 'Waiting for Miracles' is insipid.

'Desolation Rose' is the twelfth studio album by The Flower Kings, released on 28 October 2013. This is the last Flower Kings album to feature Tomas Bodin. Like 'Banks of Eden,' 'Desolation Rose' comprises two discs, the second one being a bonus disc of music that didn't make it on to the first. The Flower Kings are known for their celebratory sound, but as the title implies, 'Desolation Rose' is a dark album. The first disc of 'Desolation Rose' is semi-conceptual, containing musical themes and motifs interspersed throughout.

The album opens with the 13-minute epic "Tower One," which is one of my favorite Flower Kings songs. Rather than a long intro or overture, Roine Stolt's vocals appear right from the start. The vocal melodies are great and accompanied by wonderful guitar and bass riffing. I love the "I might have turned away from wonder" section with the wah-wah guitar chords and dark atmosphere, juxtaposed by the jovial "I'll know just when the end is near" lyric. Roine Stolt and Tomas Bodin's guitar and synth interplay is stunning. The reprise of the "She'll walk me slowly" lyric at the end acts as a beautiful climax to "Tower One." The Flower Kings aren't typically known for having a heavy sound, but "Sleeping Bones" contains one of the heaviest Flower Kings riffs. The title track introduces the anthemic "Silent Graveyard" theme, which is revisited later in the album. "White Tuxedos" was written by Jonas Reingold. The chorus borrows from the melody of an old nursery rhyme that I don't know the name of. Nevertheless, the melody is recognizable and gives "White Tuxedos" a playful, childlike quality. The guitar solo and jam towards the end of "White Tuxedos" reminds me of moments from 'Space Revolver.' The chorus of "The Resurrected Judas" is gorgeous, especially by the end of the song. The jazzy bridge is a highlight of 'Desolation Rose' and features all-around excellent musicianship.

The contrast between the upbeat verse and the anthemic chorus of "Silent Masses" is wonderful. The lyric, "All these men in the factory lines," is brilliantly reflected in the assembly line rhythm of the verse. The "Silent Graveyards" theme is brought back during the coda of "Silent Masses." The groovy 5/4 rhythm of "Last Carnivore" doesn't sound odd to me. The verses are sinister and the chorus is catchy. On ITunes, 'Desolation Rose' is labeled as a metal album, and I think I understand why. The riff from "Sleeping Bones" is reprised in the aptly-titled "Dark Fascist Skies." Except this time, it's even more heavy. The final two tracks of the first disc serve as a finale suite. "Blood of Eden" (not to be confused with the Peter Gabriel song) is a tender ballad. I love the simplicity of the lyric, "Is there someone out there?" "Silent Graveyards" reprises the main theme we've been hearing throughout the first disc. Many notable musicians sing chorus vocals on "Silent Graveyards," including Micheal Stolt, Nad Sylvan, and Andy Tillison.

The bonus disc deserves to be reviewed, as the material is phenomenal. "Runaway Train" is a great song with chromatic vocal harmonies, a catchy chorus, and copious energy. "Interstellar Visitations" is an atmospheric instrumental that at points, reminds me of Pink Floyd. Towards the end, the music crescendos into a grandiose climax. "Lazy Monkey" is a fun ditty with slide guitar. "Psalm 2013" is a moody instrumental in 9/8 that evokes the feeling of stormy weather. Roine Stolt plays an emotional guitar solo on "The Wailing Wall." "Badbeats" is a wonderful instrumental. The juxtaposition between the explosive bursts of guitar riffing and the beautiful orchestral moments make "Badbeats" unique. There is also a jazzy section near the middle of the track that features yet another Roine Stolt guitar solo, which crescendos into the climax. The title of "Burning Spears" is taken from a lyric in "Tower One." This instrumental is an incendiary reprise of "Pslam 2013." "The Final Era" is a gorgeous instrumental conclusion to the album, which features superb guitar soloing.

In conclusion, 'Desolation Rose' is a bittersweet Flower Kings album. The aforementioned departure of Tomas Bodin after 'Desolation Rose' resulted in a significant change in the Flower Kings' sound. Not only is he an excellent keyboardist, but he also co-wrote many Flower Kings songs, alongside Roine Stolt who did most of the writing. In short, the latest Flower Kings albums have been less than exceptional, and I attribute it to Bodin's absence. 'Desolation Rose' is, in my opinion, the last great Flower Kings record. One criticism I have in regards to The Flower Kings as a band is that they don't change up their sound very much from album-to-album. In other words, you know what you're going to get with each album before you first hear it. However, 'Desolation Rose' is an exception to that, as this sees the band taking elements of their retro prog sound, and mixing it with darker elements they haven't explored before. Consequently, what we get is a novel Flower Kings album that stands out in the discography as one of the band's best works.