PARADOX HOTEL

Ah, those were the days. The birth of prog-rock. Back then, in reputable magazines like Rolling Stone, adjectives such as pretentious, self-indulgent, and bloated often filled the reviews of the only music that really made my heart race with excitement. Now, in some strange way I'm happy to see such words return to some reviews of the FKs' efforts. We seem to have come full circle, which suits me just fine.

As a guy who grew up in the 70s spending an hour or two a day in the school orchestra and then playing prog-music in a band every night, I feel pretty well qualified to discuss prog music. I spent 100s of hours enjoying and learning to play music by many of the greats, especially Yes (my old favorite), early Genesis, King Crimson, Gentle Giant, Tull, and many others... and I still listen to those golden oldies and attend concerts by some of these musicians, especially Yes members, from time to time. (In fact, I just saw Jon Anderson perform in a club here last week.) Although I've since moved into the jazzier side of things, as well, I still love that 70s era of prog music and currently write and record my own style of jazz-rock-prog as a semi-pro musician in California.

I discovered the FKs about six months ago after first trying Spock's Beard, Porcupine Tree, and some others. I've enjoyed them all, but for me, the FKs came closest to the 70s spirit and sound although I admit that I've sometimes found their CDs to be just a bit inconsistent, with some uneven styles and weaker filler moments. I moved from Unfold the Future to Stardust to Space Revolver to Rainmaker--and have really enjoyed them all, with only minor reservations.

I find Paradox Hotel to be an enjoyable offering in its own way. I've only listened to the CDs a dozen or so times--in the correct way, with good headphones cranked and nothing else distracting me--but these CDs seem to continue the solid identity of this very talented band. Everything flows, and the music is constantly interesting and engaging. The music is so intricate and thoughtful, yet the edges are so smooth that nothing seems jarring or terribly out of place. In fact, I feel like I'm back in the height of the 70s prog era, listening to a group that falls somewhere between Yes (especially), early Genesis, and Crimson, with a dash of Gentle Giant, Pink Floyd, and Kansas thrown in for good measure. (The obvious Beatles' influence goes without saying.) But it's not at all just a copy of such music; it has a unique and current sound that has really grown on me, yet I'm certainly reminded of those past musical giants. One other big difference, though, is the excellent reproduction that today's recording equipment allows. In a word--audiophile. If I'd heard the FKs back in the 70s, they would have been very high on my list of favorites. Now, after such a long void of good prog-rock, the FKs' work on CDs like this one is a godsend. These guys are the real deal. They can stand alone.

The biggest issue I have with this release, as with all of their double-CD releases, is that the really old-school (symphonic) prog-rock cuts mix it up with some shorter, more straight-ahead rocky tunes. In fact, the Kings offer up fewer of the longer old-school tracks, the ones I much prefer, this time around. I find an effort like Space Revolver, with its longer (more complex) pieces, much more appealing in the traditional prog-rock tradition. Still, editing these two CDs down to one killer CD works like a charm. Given our individual preferences, there's enough variety here to allow each listener to choose the perfect mix, and many of the choices here are indeed tempting.

One other minor issue for me this time around is the quality of the recording itself. Although it's definitely well produced, especially compared to older prog-rock efforts, Paradox lacks some of the crispness and adventurous recording touches of some of the FKs' past releases. The drums, in particular, are much more basic and slightly muffled for my tastes, especially if compared to, say, Space Revelover or Unfold the Future. You can catch my point easily if you're old enough to remember the change in technique and sound when Yes moved from Bill Bruford to Allan White--both great drummers, but each altering Yes' overall sonic texture in key ways. Bruford ruled for me. I also really miss the jazzier touches now, including the absent sax, although some listeners will probably prefer this more straight-ahead approach. In short, I don't think Paradox will become my favorite FKs' effort, but I can't complain too much given the abundant creativity and diversity still present here.

If you can relate to my background, I'd suggest ignoring the occasional naysayer here and giving the FKs a try. I'm just getting to know this particular release, but it's certainly a keeper. In fact, I think they knew exactly where they were headed this time around and had the skill to get there in style. My initial impression is that the music is more structured, more song-oriented with less filler, and that Stolt's guitar work and vocals are among the most confident I've heard from him. Overall, still very creative stuff, beautifully performed, and well recorded, even if I suspect that I may tire of this streamlined approach sooner than their past efforts. If you're a progger whose tastes are more in line with Close to the Edge than with Fragile, I'd suggest entering the FKs' world via Space Revolver instead.

Of course, as with any good prog-era effort, some more investment of my time and open mind is necessary before making more critical judgements. Even the early Yes efforts didn't always win me over immediately, which was part of their lasting beauty. With all due respect, I sometimes think that the few harshest critics of this music are either too young to really appreciate the roots and traditions of prog-rock music or too old to accept that anyone besides the old masters can achieve anything worthwhile. Of course, I find some FK moments here much more appealing than others, but I could say the same about any of the original prog-groups, too. (Close to the Edge was one of the only Yes releases that was 100% meat for me, but the others were still plenty filling in their own ways.)

Music is so darned personal that I always hesitate to recommend anything too strongly. I'd simply suggest giving a listen to some sample clips online if you're on the fence--in other words, try to draw your own conclusions before buying. We're all different, and every band and CD has its highs and lows that can vary for each of us. For my tastes, however, this effort's another overall winner from a special band that has, almost single-handedly, re-awoken and re-energized my prog spirit. I really couldn't pay a higher compliment.

Bravo, FKs, from a critical fellow musician and life-long prog-rat. I'm just glad you're out there and working as hard as you are to keep such music alive and fresh, especially in the increasingly (and depressingly) corporate, cookie-cutter world that stubbornly resists adventurous music like yours. You truly deserve your growing success, and this latest effort adds to your shine, especially for folks who prefer slightly shorter, simpler efforts that are still (for the most part) firmly rooted in the prog-rock tradition. For me, Paradox Hotel is a solid if streamlined effort, still brimming with confidence and skill. It's not my favorite of yours, but you're obviously working hard and staying true to your roots, Tack sa myckert, guys. Wishing you many more years of health, vision, and prosperity.