DESOLATION ROSE

'Desolation Rose' is an album I am quite fond of, for a couple of reasons. One of them is that this was my 'official' introduction to the band (and I was quite mesmerized by what I was hearing, back in 2013), and probably the more essential one is that this is one of the records that really converted me into a full-on prog maniac and made me want more and more.

Now, this is the band's twelfth album, and at such a point in a band's musical career, the expectations are probably not as high as they have been eight or ten years ago. Well, not with the Flower Kings, as this album comes shortly after the brilliant 'Banks of Eden' which was their first release after a 5-year break.

The core of the band is the same as usual with Roine Stolt as the captain of the ship, Tomas Bodin handling all the keyboards, the stunning Jonas Reingold on bass, Hasse Froberg on vocals and additional guitars, and a new drummer in the face of German guy Felix Lehrmann who plays on the previous album as well, of course.

Musically, 'Desolation Rose' is a thematic, in a way, continuation of 'Banks of Eden' but darkened even more. If elegance and lush were prevailing on 'Banks', anxiety and agitation are my best words for this album. These words should not confuse, of course, as the very recognizable and original sound of the band is also present - the big riffs, the catchy choruses, the beautiful vocal harmonies, the quirky keyboard madness, the abstract lyrics, and the pounding bass.

Some consider this a safe album but I really disagree with this statement. The band did not write tremendously long pieces, nor did release this as a double album (I am excluding the bonus disc from this review), these are the facts. But it is also true that they haven't blended the heavier moments with the playful (or 'proggy') ones that flawlessly on any other release. This album is marked by stupendous songwriting, memorable songs, jaw-dropping instrumental sections and an overall sensation of grandiosity, alongside quite a metaphysical exaltation when experiencing the music.

Opening track 'Tower One' is one of the truly wonderful longer pieces of the band, with many mood shifts, not so dramatic instrumental ones, imaginative lyrical content, and ingenious interplay between Roine and Tomas but also between Jonas and Felix.

'Sleeping Bones', one of the shorter tracks on the album, is a more peaceful song, contrasting with 'Tower One' (and this contrast is something the band will use further in the album again on several occasions). 'Desolation Road' is what could be classified as a classic prog song, very symphonic and all over the place. 'White Tuxedos' is a bit of an unexpected entry, as its chorus is a variation of a children's song (I can't really remember the song's name but the melody is quite recognizable) and is one of the things that really sticks to one's mind as a more easy-going song, if this could be said about a Flower Kings song.

'The Resurrected Judas' is an eight-and-a-half-minute exercise in orchestral elevating rock music, sounding very mellifluous and delightful, and carrying the signature TFK retro sound. A retro sound that, in my humble opinion, is given a unique spin of originality which is the reason why the band is so beloved and celebrated, as they never really mimicked any band in particular but embraced the approach of Genesis and Yes, as the two most obvious examples, and furthered it which ultimately led to some of progressive rock's most representative and impressive pieces ever created, but enough with this little lyrical deviation. 'Last Carnivore' is definitely the big rocker of the album, where the punchy verses are excellently followed by the bluesy chorus and the bluesy solo by Stolt. I have never been bored by this song and I've heard it a good bunch of times. 'Dark Fascist Skies' is a critical observation of the contemporary moral of political leaders giving misleading promises, another great track in the Kings' catalogue.

The two final tracks 'Blood of Eden' and 'Silent Graveyards' form a brief closing suite with some reprises of melodies or riffs that were already used on some of the previous songs.

'Desolation Rose' is an excellent album, this I have no doubts about. It is menacing, it is symphonic, it is different from what the Flower Kings usually put out, and it is hauntingly memorable. The performances by the band members are excellent as expected, with my two highlight musicians on this album being probably Hasse, whose vocals are at this point a mandatory part of any Flower Kings album for me, an absolutely powerful and majestic voice and Jonas, whose bass is so prevalent and blissful that I just cannot leave him without a special mention. All this is elevated by the beautiful artwork, one of my favorite TFK covers.