Tag Archives: Roine Stolt

The Flower Kings’ Latest: A Hymn to Love

June 18, 2025 Thaddeus Wert

Hello Spirit of Cecilia Readers, it’s with great pleasure that Tad and Brad review the latest release from their beloved Flower Kings, Love (Insideout Music). Here are their thoughts.

Brad: As always, a great pleasure to do this with you, my friend. As you and I have talked before, I’ve been a Flower Kings fanatic (and yes, I mean a fanatic, a hyper fan!) for twenty-five years now. A wonderful student–now one of my colleagues in the philosophy department at Hillsdale–let me borrow his copy of the band’s 1999 Flower Power. I immediately fell in love with it, bought it, and bought my favorite album by the band, Space Revolver, to me one of the absolutely quintessential prog albums of all time. Once I had Flower Power and Space Revolver, I bought everything before that: Stolt’s The Flower King, Back In the World of Adventures, Retropolis, Stardust We Are. From Space Revolver to the present, I’ve bought every studio album, every DVD, every live album, every compilation, and both box sets on the day each has been released. I have two of their fan release albums, too, and two of their official bootlegs, but they’re really hard to come by. Every once in a while they pop up on Ebay, andI pounce on them. My point being, though, I’m a definite completist when it comes to Roine Stolt, just like I am with Steven Wilson. Proudly so. Both, absolutely amazing talents.

Through Facebook, I’ve had a few moments of correspondence with Stolt, and he’s a total gentleman. Frankly, he’d be a blast over a beer.

But, Tad, let’s start with you. You’re relatively new to the Flower Kings. What made you change your mind about them, or what made you finally embrace them?

Tad: Brad, it is great to discuss this group’s music with you, and I have you to thank for introducing me to them. I knew about them for years, but I really didn’t get into their work until I picked up Space Revolver in a used record store. All of a sudden, things clicked, and I was able to appreciate what Stolt and his fellow Flower Kings were doing. I have since acquired all of their albums (but not the bootlegs and limited editions you have).

I have to say, they are some of the most prolific artists working today. They release an album practically every year, which are often two-disc sets. Even their single-disc albums are filled to the brim, including their latest, Love, which contains 71 minutes of music. What are your initial impressions of this one?

Brad: Tad, so glad you found and fell in love with Space Revolver. Definitely a top-20 all time album for me, maybe even a top 15. I certainly think it’s a classic of third-wave prog. Everything just works on that album–the music, the shifts, the tone, the lyrics, the playfulness. Yeah, I just love that album no matter how many times I’ve listened to it.

And, yes, I’m really happy with the new album. It’s mellower, overall, than most previous Flower King’s releases, and it’s relatively tame, again compared to the band’s previous releases.

I had received the promo copy of the album from Inside Out, and I pretty much fell in love on the first listen, but, then, to make it even greater, my physical copy arrived. I was so surprised to open up the CD and have the beautiful portrait of Mary and the Child staring up at me! I’ve thoroughly enjoyed Stolt’s lyrics going all the way back to The Flower King (1994), and he’s always been respectful of Christianity. His Christianity–at least as it comes across in his lyrics–is more mythic and symbolic than tangible and concrete. Stolt especially loves making references to the “Holy Mother.” I assume that’s Mary, but I’m not sure, of course. Being Swedish, Stolt almost certainly comes for a Lutheran background. As much as Luther loved Mary (he did, adamantly), Lutherans generally don’t put much emphasis on her. So, one of the mysteries of Stolt and the Flower Kings.

Here are two examples of Stolt’s rather hippyish and cosmic take on Christianity. First, in his thank yous on Love, he writes “Remember: War is just fear and failure, FEAR manifested in small people with shady political or religious agendas–LOVE is always the winner.”

And, again, take the lyrics for track two of the album, “The Elder”:

You found your way – So come what may

So I have made it here

A distant light getting near

if you just knew where to begin

This holy mess you’re in – Waiting on a dream

I’ve made my peace with those who’d done me wrong

Those broken dreams that followed me along

So no more worries – If we could bury hate –

There’s nothing greater than the love we save

Betting on the love you save

Betting on the love you crave

So open up those doors – letting out the waters

And now you’re waiting on a tide

I once had a vision – behold them lights

The lights of salvation

So you look in his eyes – resurrection –

He’s risen – Came down upon me –

is it real what I’m feelin’

We can get much higher – We can start a fire

Turn away from lies – Looking eye to eye

We can catch a light – Brighten up this night

We will never die – We will never die

What you get is what you are

So give away a shiny star

Keep it closer to your heart

Do never sway – Don’t break no parts

What you give is what you are!

What was given – looking closer – Taint your soul

It’s unforgiven – cause the world has plans for you

Is it real – is it fiction? – Crucifixion

The world may soon just set you free

Here we are in silent trenches

Come this far – lived life let reckless

Waiting for the lights to change

I’m waiting for the outbound train

You found your way – So come what may

You’ve found your way

Notice, of course, the use of salvation, risen, resurrection, Crucifixion. None of it is blatant theologically, but it is blatantly symbolically and mythically.

I once tried to outline all of the albums up through 2013. It would be nice to update this, as the Flower Kings have released a lot since 2013. But, here, at least is what I thought up to that point:

And, I have to note as well, Tad, that I once had huge aspirations of writing a book about the Flower Kings, using each album as a chapter and inspiration, a theme pregnant with whole worlds.

Tad: Brad, I love your Aristotelian classification of their discography! You have some updating to do, though, don’t you? I hope you follow through on that book – I think prog fans would love it.

I also noticed and appreciated those lyrics in “The Elder” the first time I heard that track. It is one of my favorites on the album. My overall impression of Love is one of all-encompassing joy and optimism – which is not surprising, given the album’s title! The first song, “We Claim The Moon”, bursts out with a happy sound of guitars and keyboards that conjures up classic Traffic. The line, “I’ll never get over the way you brought down the moon” brings to mind Jimmy Stewart and Donna Reed in It’s a Wonderful Life.

I agree with you that this album is mellower, but, paradoxically, I think there is a lot of energy in the performances. The vocals on Love strike me as some of their best ever, with Hans Froberg and Roine Stolt trading leads and harmonizing beautifully, especially in “The Phoenix”. I love the way that track starts out acoustically with a celtic feel, and then features an outstanding guitar solo from Roine.

Another highlight is the final song, “Considerations”, which is written by Michael Stolt and Jannica Lund. It is a truly majestic track that I admire more and more as I listen to it. The “Shine on, shine on love” section is one of my favorite musical moments.

I also appreciate the way the Kings have created a unified whole from these twelve tracks. Musical motifs reappear throughout the album, as well as lyrical themes – did you notice that “Love Is” (track 10) has the line, “How can you leave us now?”, which is the title of the album’s third track! It’s little details like that that tell me Love is meant to be listened to in its entirety to fully appreciate its message. And what a message – despite all the negative forces in our world, love can conquer all. I really appreciate how bravely Flower Kings go against the cultural grain of our time: instead of complaining about hatred and division, they choose to celebrate the power of human (and spiritual) love.

Brad: You put that all so beautifully, Tad. I really like the idea that the album is really love calling on love, inspiring us to be our best. Frankly, I think that’s a perfect summation of Roine Stolt’s artistry and what he’s accomplished over the past 31 years. All rather stunning and motivating. And, so once again, I’m brought back to the beginning–I’m extremely proud to be a fanatic when it comes to the Flower Kings.

As always, we encourage you to buy your Flower Kings merchandise from the best online retailer, Burning Shed.

Republic of Letters

The Flower Kings: Space Revolver and More!

May 15, 2024 Thaddeus Wert

Space Revolver

One of Brad Birzer’s favorite musical artists is The Flower Kings, and one of his favorite albums of theirs is Space Revolver. In this dialog, he and Tad Wert discuss that album and its place in their discography.

Tad: Brad, it’s good to be interacting with you again on Spirit of Cecilia! I chose this classic album, because I know it’s a favorite of yours.

My first exposure to The Flower Kings was their album, Stardust We Are, which I bought because of a Mojo Magazine article on “the new wave of progressive rock”. I have to admit that I tried repeatedly to listen to the whole album, and it never held my interest enough for me to do so. I know that you love Roine Stolt and his Flower Kings, so every time a new album was released, I gave it a try, but there were always other artists’ music that took my attention.

Then, last week, I found an inexpensive copy of Space Revolver, and I don’t know exactly why, but I picked it up. Once I heard the opening chords of I Am The Sun Pt. 1, I was immediately taken with this album! I think Stolt (in my humble opinion), had hit upon a very good balance between power and grace in his music. As I continued to listen to the rest of the album, I was gratified to hear that that high quality of songwriting continued throughout.

Brad: Dear Tad, it’s been too long, my friend. What have I been doing? Too much teaching of the American founding period and too much grading! Ha. No, of course, I love my teaching and my students, but they are distractions from my love of reviewing albums with you and my love of progressive rock! So glad to be done with the semester (and, frankly, it was a great one!!!) and back to reviewing with you. Ahh. . . the good life.

Yes, I’ve been a fan of The Flower Kings for a long time, now, and I’ve been an evangelist of the band just as long. Way back in the year 2000, a former student (now the head of our philosophy department) leant me a copy of Flower Power. I was immediately taken with it, and I bought everything available at the time by the band. I fell in love with everything. Absolutely everything, including Roine Stolt’s solo album, The Flower King (which, I assume is just a hippy-ish name for Jesus).

Crazily enough, the band released Space Revolver on July 4th of that year. Coincidence? I have no idea, but it struck me as a perfect Fourth of July album. Especially with those queer lines in the first track–”I left my heart in San Francisco. I left my mind in San Francisco Bay.” Wow, did I laugh hard or what!!! 24 years later, the line still cracks me up.

I’ve had the chance to correspond a bit with Stolt, and I even sent him some books on economics (by Wilhelm Roepke) before a longish tour he took. As far as I know, he took the books with him! How great is that? Frankly, I’d be happy to be his book supplier. At the time I sent him the Roepke books, he was really interested in an anti-Marxist form of economics, that is, the creation of more private property (small family farms) rather than less. Again, how great is that? “Ride this bitch, that is power!”

Anyway, Tad, this is a long way of saying, I love the music, and I love the band. I think the world of both.

Tad: Okay, Brad, your off-hand remark about the Flower King being Jesus is something that I’ve wondered about for a while: is Roine a Christian? The 1994 album, Roine Stolt’s The Flower King, is steeped in religious imagery, specifically Christian, and, of course, he has collaborated with Neal Morse in Transatlantic. Anyway, if true, it helps make sense of a lot of his music!

Also, here’s something else that came to me while listening to Space Revolver – to my ears, it is a huge leap forward in songwriting from Stardust We Are, and I was wondering what might have caused it. Then it hit me: Space Revolver was written and recorded a few months after Stolt was involved in the first Transatlantic album SMPTE! I think Neal Morse must have had an influence on Stolt; that opening piano riff in I Am The Sun Pt. 1 is very Morsian (to coin a word!). Chicken Farmer Song, Underdog, A Slave To Money, and A King’s Prayer all feature outstanding melodies – they’re downright power poppish in their catchiness. Even the jam that closes out A King’s Prayer is focused and tight, with nary a wasted note.

The tootling mellotron that opens I Am The Sun Pt. 2 is one of my favorite moments of the entire album. I hear it, and I can’t help but smile and bob my head. Actually, the whole atmosphere of this album is one of joy. Stolt seems to be having the time of his life, and he wants the world to know it.

I also want to single out Ulf Wallander’s soprano saxophone work for praise. I love that instrument, but in the wrong hands it can be very annoying. Wallander does a great job zipping off very pleasant improvisations that add a lot to the overall feel.

The only misstep on this album, in my opinion, is Hans Froberg’s You Don’t Know What You’ve Got, which sticks out like a sore thumb. It just doesn’t fit in with the rest of the album. That said, it’s not a bad song, it just doesn’t work for me in the context of the other tracks.

Okay, I’ve raved enough; your turn!

Brad: Tad, what a fun writeup. Thank you–I think you clearly identify the joy and playfulness that is so prevalent in Space Revolver. Stolt was clearly having the time of his life. I love all the other albums – in fact, I made a meme a years ago expressing what I loved about each album (see below) – and I’m especially taken with Flower Power (the first of theirs I heard) and Paradox Hotel. I really like Stardust We Are, too–but each of these other albums lacks the extreme playfulness of Space Revolver.

Flower Kings meme

[I made the above meme back when Desolation Rose came out. I was rather blown away by the album when it was released, but mostly because it was so intense and lacked the characteristic mischievousness of the previous albums. Indeed, when we were really active at Progarchy, I even planned out a book on the Flower Kings (never realized, except for some snippets, here or there), following the meme’s albums’s themes. I was planning on arguing that The Flower Kings were to Europe what Big Big Train was to England and what Glass Hammer was to America.

The book would’ve come out before my Neil Peart biography and even before what you and I, Tad, wrote on Big Big Train. I was, at the time, emailing with Stolt, and I was rather taken with him (still am) as an artist and as a human being. He was extremely active on Facebook at the time, as was his wife, and they were always interesting. We disagreed radically on the meaning and legacy of President Obama, but, again, he was always a total and intelligent gentleman.

It’s about the time I sent him the Roepke book.

I did try to interview Stolt about Rush, but he very kindly responded that he didn’t know enough about the band to offer anything substantive. He was genuine, kind, and humane in his response.

One of many grand schemes never realized. . .]

Birzer Flower Kings — Brad’s Flower Kings Collection

[Above photo, my fantasizing. In the middle of my then-Flower Kings collection, I’ve placed three of my own books, my biographies of (right to left) Christopher Dawson, J.R.R. Tolkien, and Charles Carroll of Carrollton. Yes, I desperately wanted my work to be tied to Roine Stolt and the Flower Kings. I thought–and still do–that if any of my biographies could reach the majesty of Stolt’s artistry, I would truly have made a mark on the world.]

A few responses to you directly, Tad. It’s funny, I had always assumed that Neal Morse was influenced by Roine Stolt, rather than the other way around. And, Stolt, to me, seems deeply influenced by King Crimson, Yes, and Genesis. This seems especially clear on his solo, The Flower King, and Retropolis, both of which came before Transatlantic. But, I assume this is like a chicken or the egg question. At this point (2024), the two must’ve influenced each other so completely that one can’t any longer disentangle which idea or person came first. Together, Stolt and Morse are the heart of rambunctious third-wave prog.

As to Stolt being Christian, I have no idea. In our brief correspondence, I obnoxiously asked him directly about his faith, and he never responded or hinted, one way or the other. Being Swedish, he was almost certainly raised nominally Lutheran, even if the Swedes only attend services on Easter and Christmas.

Regardless, Stolt employs Christian symbolism frequently, especially in the early The Flower King’s albums. Again, I think that “The Flower King” is a sort of hippie Cosmic Christ. Here are the lyrics from the first album:

Falling out of the sky, falling into a dream
All I need is the heart where it all can begin
It’s just a matter of time, it’s just a matter of trust
It’s just a matter of faith when we all sleep in the dust

Don’t deny, just verify the genius of it all
It’s the cycle of all living thing, hear the children
Hear the children call !

“We believe in the light, we believe in love every precious little thing
We believe you can still surrender you can serve the Flower King”

Going out into the grey, into purple and red
See, all the beautiful shapes flowing out of my head
It’s just a matter of time, it’s just a matter of trust
It’s just a matter of faith when we all sleep in the dust

Don’t deny, just verify the genius of it all
It’s the cycle of all living, hear the children
Hear the children call !

“We believe in the light, we believe in love every precious little thing
We believe you can still surrender you can serve the Flower King”

“We believe in the heart, we believe in healing in a house where angels sing
We’ll unite the divided and the fallen one will serve the Flower King”

“We believe in the heart, we believe in healing in a house where angels sing
We’ll unite the divided and fallen one will serve the Flower King”

Again, I don’t quite think this is the orthodox Jesus Christ of Christian faith, but a rather humanistic but still supernatural Flower King. When the band becomes “The Flower Kings,” they’re not divinizing themselves but rather becoming disciples.

What strikes me most, though, is that Stolt’s use of mythological symbols is not Lutheran, but deeply Roman Catholic.

On track four of Space Revolver, “Monster Within,” Stolt sings “Mother Mary, she’s left the building crying/silent tears rolling down her cheek.” Granted, this could just be a Beatles’ reference, but Mary, here, seems more supernatural than Paul McCartney’s mother. After all, Mary is the opposite of some kind of demagogue trying to seduce our children and who feeds on power and who controls the bats.

One of my favorite The Flower King’s albums, Unfold the Future, posits a war between the devil and Mary. On the final track:

Clueless

Living in a business cluster, predator to suit your needs
Raven sitting on your shoulder, lurking the suburban weeds
Think I saw you in the bank, think I saw you in a talkshow
Swear I saw your mindless grin, justify the final blow

Swallowing the endless laughter, cultivate the deadly sins
Getting even altogether, hiding from the Holy Mother
This is how you raise the Cain, this is what you teach our children
Back on duty dog eat dog, they’re clueless in the Devil’s playground

Then, of course, on Space Revolver, on track 6, “Underdog,” there’s that really weird line/sound byte: “John Paul’s pizza, the biggest pizza you’ve ever seen.” When this album came out, in the year 2000, the only John Paul that mattered was John Paul II.

So, is Stolt Christian? I have no idea, but he’s an awesome ally, a man of integrity, and a grand myth maker. Taken together, this is so much what I love about Stolt and the band. Never once I have listened to them without my imagination being stimulated, expanded, and made manifest!

Tad: Wow, Brad! I knew you were a fan of Stolt, but I wasn’t aware of all the thought you’ve put into his music. I now have a much greater appreciation for his overall oeuvre than before. I think you’re probably correct about who influenced whom – Morse had to be aware of Stolt while he was in Spock’s Beard, and Stolt had to be aware of Morse. They likely influenced and appreciated each other, which led to the formation of another outstanding prog group, Transatlantic.

I kind of like it that Stolt is mum about his faith; it allows different interpretations of his music. What’s important to me is that he seems to be a light-bearer, as opposed to a dark nihilist like so many Scandinavian death metal artists. Stolt is always positive and optimistic, even when he is singing about something he’s unhappy about. In that regard, Desolation Rose seems to be his “darkest” work, and it is still uplifting to my ears.

So here’s my takeaway on Space Revolver: it is the perfect introduction to The Flower Kings for someone who is new to them. In it, the group hits the perfect combination of melodicism, progginess, and improv jamming. Once you’ve absorbed this album, all the others make sense. They’ve had an amazingly productive run the past 30(!) years, and I hope they go for 30 more!

Republic of Letters

Look At The Flower Kings Now!

October 10, 2023 Thaddeus Wert

Flower Kings look

Welcome back, Spirit of Cecilia readers! In this post, Brad Birzer and Tad Wert discuss the new album from the Flower Kings, Look At You Now.

Tad: Brad, I know the Flower Kings are one of your favorite artists in music. They certainly are prolific – when they release an album, it’s usually a double-length one. Look At You Now clocks in at a relatively modest (for them) 67 minutes.

I’m not as big a fan of them as you are, but I certainly respect their talent. That said, I have to say that this album is really attractive to me. It seems more focused and energetic than previous releases. Right off the bat, “Beginner’s Eyes” is a song I bet Yes wishes they could produce these days. It’s majestic and inviting at the same time.

Brad: Dear Tad, you wrote this over a week ago, and I’m just now getting to it. I’m so sorry, my friend. It’s been crazily busy here, but not busy enough to warrant such neglect.

Anyway, I’m so glad you’ve introduced us to the new Flower Kings album, Look at You Now. I first came to the Flower Kings back in the year 2000. A student (now a beloved colleague in the philosophy department) leant me his copy of Flower Power, and I was utterly gobsmacked. I couldn’t believe how nuanced the album was on disk one (the Flower Kings rarely do anything short), and I loved the “b-sides” of disk two. From there, I worked backward and found my way through the band’s entire catalog.

For twenty-three years now, I’ve been fully immersed in everything Roine Stolt (the founder of the band) has done–from the Flower Kings to Kaipa to Transatlantic to The Sea Within to Agents of Mercy. The guy is astoundingly relentless and talented. I’ve even tracked down and purchased–for my personal collection–Flower Kings rarities, all of them beautiful.

The latest album, Look at You Now, is much more laid back than I would’ve expected from the band. If you look at something like Space Revolver (my favorite album from the band), the band is nearly unrestrainable. But for this new album, the band is confident in its mellow state. Even its mellowness, though, has a nice intensity to it.

Tad: Brad, I find it interesting that you characterize Look At You Now as laid back – my first impression was that it had more fire than usual! However, I haven’t heard Space Revolver, so I don’t have the same history to compare Look At You Now to that you do. As I mentioned in the intro to this post, I think “Beginner’s Eyes” is a great song that outdoes anything Yes has recorded in years. Stolt’s guitar really stings in his solo. Another song I found immediately appealing is “Scars”, with its gritty, bluesy intro and infectious groove it lays down. Once again, Stolt’s guitar work is outstanding (assuming he’s the lead guitarist here); the entire song reminds me of something Eric Clapton might have produced at his peak.

I also appreciate the fact that almost all the tracks on this album are relatively short – more than half are under five minutes. Maybe it’s my age, but I’ve lost patience with songs that meander without resolution for more than six or seven minutes. I have a friend who went to a Phish show a couple of nights ago, and he said he had to leave after the first three songs took 45 minutes! Neal Morse is one of the few artists who can hold my interest over a long period of time; most others, not so much. Okay, rant over – as I said, I think the Flower Kings have done a great job paring every song on this album down to its essentials, and I think that makes for a really strong album overall.

Brad: Tad, thanks so much for a great response. I love the rant. I must admit, though, I’m a guy who likes meandering in my music. Phish playing only three songs over forty-five minutes sounds wonderful to me. I’m guessing I would’ve been immersed in the experience.

As to The Flower Kings, this new album is definitely a surprise, especially given the shortness of the songs. But, I very much appreciate and like what the band is doing. I think you’re absolutely right, any band–Yes or The Flower Kings–should be proud of a song like the album opener, “Beginner’s Eyes.” What a delight it is.

As much as I love the dual vocals with the Flower Kings, I also especially like the instrumental passages, and one of my favorite tracks is “Dr. Ribedeaux.” Despite the absence of lyrics, I think this song has the most classical Flower Kings feel to it.

I also love that The Flower Kings are willing to wear their influences so openly. Obviously, “Mother Earth”’s introduction sounds like something Brian May of Queen might have done, and much of the album has a Yes fan–as you were implying above.

And, Tad, before we close this review, I must encourage you to listen to Space Revolver. It’s most certainly a top 15 prog album for me. It’s wacky and gorgeous, all at the same time.

Regardless, I’m so glad to have The Flower Kings in the world. Roine Stolt is my favorite viking hippie!

Tad: Brad, I love “Sr. Ribedeaux” as well! A great instrumental workout. In sum, I think Look At You Now is a worthy addition to the extensive Flower Kings catalog. In my opinion, one of their best, and well worth checking out if someone isn’t familiar with their work. And I promise to give Space Revolver a listen – you have yet to steer me wrong with your music recommendations!

Music

Spirit of Cecilia Decrees: The Flower Kings’ Latest Rules!

February 7, 2022 Thaddeus Wert

Press_Logo_02

The Flower Kings have a new album coming out March 4, 2022, and it’s called By Royal Decree. It is a two-disc set that includes some songs that were written even before they recorded their first album! Brad Birzer and Tad Wert share their thoughts on this latest release from one of their favorite prog artists.

Brad: When one thinks about Third Wave prog, it’s rather impossible not to think about Roine Stolt and The Flower Kings. And, of course, who wouldn’t want to spend time thinking about Stolt? The man just exudes genius in every project he’s in, as does every manifestation of The Flower Kings.

Really, just think about how important Stolt is–not just to The Flower Kings, but to Transatlantic, Sea Within, Stolt/Anderson, Steve Hackett, The Tangent, his solo material. . . .

Amazingly, to me at least, I didn’t encounter The Flower Kings until 1999’s Flower Power. A student (now, thankfully, a beloved colleague) lent Flower Power to me, and I was rather and immediately gobsmacked by it. I then quickly purchased every previous release from the band and looked forward to every future release. There’s nothing the band has released that I don’t like, and I would rank Space Revolver, especially, as a top-ten of all time rock release for me, with Stardust We Are and Paradox Hotel ranked very highly as well. Unfold the Future, too. Anyway and regardless, The Flower Kings have been a favorite for me for nearly 23 years now, and I can’t imagine my adult life without the band providing a myriad of soundtracks to it.

Band_Photo_1

This brings us to the latest by the band, the forthcoming By Royal Decree (Inside Out Music). It is, simply put, excellent, a double-album that reminds me very much of Stardust We Are. The band, once again, proves why it is still the most mischievous psychedelic prog band out there. The energy levels of the band are off the charts, and the uniquely Flower King flourishes are delightfully to be found throughout the album. And, I, for one, am very happy.

Tad: Brad, Mr. Stolt certainly spoils us fans, doesn’t he? After 2020’s huge two-disc Islands, he and his bandmates begin 2022 with another two-disc offering. Talk about an embarrassment of riches!

Since you outlined your history with the Flower Kings, I’ll just say that I first learned of them years ago after I read an article on prog rock in Mojo Magazine. There was a brief article on “new and up and coming prog artists”. Based on that article, I picked up Porcupine Tree’s In Absentia, Spock’s Beard’s V, and The Flower Kings’ Stardust We Are. I remain a devoted fan of all three groups and their various permutations and offshoots to this day.

Album_Cover

So let’s take a look at By Royal Decree. First off, I absolutely love the cover art. I have no idea why the monkey is holding a timepiece, nor what significance the peacocks have, but it all gives the impression of some fantastical world that an Alice might fall into.

The first song that really grabs me is track 3: “Blinded”. I am a sucker for a sinuous bassline, and this song has one in spades. I also dig the soprano sax that trades solos with Roine’s guitar. The mix of jazz and rock in this song, along with the stop/starts and time changes, reminds me of ‘70s Frank Zappa.

Brad: Tad, it’s always good to review with you! Such a joy in this rather fallen world. And, thank God for The Flower Kings. Like you, it’s very hard to imagine the last two decades without them playing constantly in my life.

For what it’s worth, I don’t get the album cover either, but I think it’s gorgeous. I think–but am not sure–that it’s supposed to be a sequel cover to the earlier album, Waiting for Miracles. As much as I liked Roger Dean’s cover for Islands, I really love it when The Flower Kings are blatantly surrealistic and hippie-ish. This cover for By Royal Decree is just weird enough–and beautiful enough in its colors, especially–to make it exactly the right cover for this album. I’m assuming the monkey holding the watch is the great pretender?

I really like “Blinded” as well, and it has a very traditional TFK sound to it. Very angular in the construction of the song with fetching lyrics. In actuality, I really like the whole first disk as a whole. I think it blends together really nicely, again, reminding me of Stardust We Are. But, of course, musically–especially the sax part on “Blinded”–harkens back to Space Revolver. “I left my heart in San Francisco, I left my mind in San Francisco Bay!” In fact, one of the truly great aspects of this album is how much it plays with the history of the band itself, constantly echoing themes and melodies from previous albums.

Immediately after the wildly progressive and jazz-infused “Blinded”, the band gives us the very lush and poppish “A Million Stars,” which the band has also released as a video to support the album.

After “A Million Stars” comes the nearly-perfect track, “The Soldier,” a gut-wrenching examination of our darker sides, but with gorgeous bass playing and keyboards and drums. Indeed, every instrument just soars on this song. I also really love “Peacock on Parade,” the second from last track on disk one, as well as the final track, the resigned and circus-like “Revolution.”

Disk Two is every bit as strong as Disk One, with wonderfully odd tracks such as the progressive folky “Letter” and the soulful “Evolution” and the chamber-like drama of “Moth.” I’m especially taken with the “Big Funk” which brings back the Holy Mother of Unfold the Future, as well as the final song of the album, the rather complex “Funeral Pyres.”

Tad: Brad, I think Disk Two is a wee bit better than Disk One. “Evolution” is my favorite song on the album (at least today it is!). The organ intro conjures up classic Yes vibes for me, and it has a great hook in the melody.

Disk Two also closes incredibly strong: “The Big Funk”, “Open Your Heart”, “Shrine”, and “Funeral Pyre” are all terrific songs – a minisuite of excellence. On “Funeral Pyres” Stolt crafts one of his finest guitar solos ever.

All in all, I would say that By Royal Decree is at the top of The Flower Kings’ discography, and they have released a lot of great albums! As good as Islands was a couple of years ago, TRD is even better. Isn’t it impressive how prolific The Flower Kings are without any diminution in quality?

Brad: Tad, thank you so much for this joint review. Let me just conclude my part by stating, I am one very happy man. This is exactly The Flower King’s album I wanted and needed. A glorious return to all that makes the band so special. Roine Stolt is truly astounding as a composer, as a lyricist, and as a guitarist.

Music

The Flower Kings–A Million Stars

January 18, 2022 bradbirzer 1 Comment

Art, Music

Transatlantic: Absolute Genius

February 17, 2021 bradbirzer

The three versions of the album. Photo from nealmorse.com

So, after much anticipation and perhaps some untoward eagerness on my part, Transatlantic’s Absolute Universe: The Ultimate Edition box set finally arrived yesterday. Or, maybe one should write more appropriately, it landed! And, yes, I was and am thrilled.

I had received a promo copy of two versions of the album—The Breath of Life (Abridged) and Forevermore (Extended)—and I’ve been playing them pretty much non-stop.

But, with The Ultimate Edition, I now have yet a third version of the album, Mike Portnoy’s blu-ray version. If you have to pick just one of the three, I’d highly recommend the blu-ray version as the best. Not only does it capture the spirit of The Breath of Life (which Morse mixed and curated) and Forevermore (which Stolt mixed and curated), but its sound is just nothing short of glorious. Each instrument is crystal clear as is the space between each.

Most astonishing of all sounds to emerge from the blu-ray version is Pete Trewavas’s bass. I’ve always thought of him as an excellent bassist, but I didn’t realize just how excellent until hearing the blu-ray version. Somewhat funny that he was the only band member NOT to mix and curate a version of this album.

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Music

Placing a Transatlantic Call

January 18, 2021 Thaddeus Wert

In the latest Spirit of Cecilia dialogue, Editor-In-Chief Brad Birzer and Arts Editor Tad Wert exchange thoughts on the massive set of new releases from progrock’s supergroup, Transatlantic. There are several different versions of The Absolute Universe (you can check them out here), and each one has its own charms.

Brad: Tad, I just finished watching the Transatlantic Roine Stolt interview (available on Youtube as a part of a series), and I couldn’t help but think of you. I also couldn’t help but think–yet again–what a grand gentleman Stolt is. So interesting and intelligent. Prog musicians are articulate in general, to be sure, but Stolt is exceptional even among exceptional people. Does my soul good. He is, truly, The Flower King.

I know that you like the new album(s), The Absolute Universe, from Transatlantic, and I very much do as well. Indeed, I’m rather in love with the extended edition, and I’m growing very fond of the abridged version as well. The more I listen to each, the more I realize how different (and yet so complementary) each is to the other.

What’s interesting to me is that from the opening minute, you know it’s a Transatlantic album. There’s something about the instruments, the voices, and, especially, the energy that is uniquely Transatlantic.

As I’ve been devouring the new album(s) and anticipating the massive box set on its way in three or so weeks I’ve been waxing nostalgic. I bought the first Transatlantic album, SMPTe, shortly after it came out. A student (now a colleague in the philosophy department) had lent it–along with Flower Power by the Flower Kings–to me, and I was immediately taken with both. Since then, I’ve bought every Transatlantic album–studio and live–as they’ve come out. In many ways, my last twenty years have, in some way, been shaped by Transatlantic.

Then, of course, there’s the distinctive Transatlantic art. The great Transatlantic ship is wonderful, and the band has, probably, the best font for any band since Yes’s classic signature.

Tad: Brad, you and I are on the same wavelength. I have been immersing myself in both versions of The Absolute Universe (How’s that for a provocatively countercultural title?), and I am increasingly drawn to the extended version. It turns out that Roine is the main mastermind behind that set, while Neal Morse is the one who put together the abridged version.

I have not seen the Stolt interview, but Morse has begun his own podcast and his first guest is none other than Mike Portnoy! It is also on YouTube, and it is such a pleasure to watch and listen to two very close friends discuss all kinds of topics. I highly recommend you check it out.

I also grabbed my copy of SMPTe to listen to again, and it holds up incredibly well. I think it has stood the test of time – has it really been 21 years since it first came out? – and it can now be considered a progressive rock classic. Those first chords of All Of The Above are so stirring to me; I almost get emotional listening to them now. And as you mentioned, from the opening notes of Overture from The Absolute Universe, you know you’re listening to a Transatlantic album! When Portnoy’s drums kick in gear and start propelling the entire band – that is a very satisfying listening experience for me. Also, Morse’s organ playing the opening melody of Heart Like A Whirlwind (extended version)/Reaching For The Sky (abridged version) is a special moment.

I think you would agree with me that Morse dominated the first two Transatlantic albums (and probably the third) but on this one I get the sense that all the members had relatively equal input. I am especially pleased to hear Pete Trewavas stepping up and singing more lead vocals. His songwriting contributions are more accessible – in other words, poppier – than Stolt’s and Morse’s, which keeps things grounded. Hopefully this album will greatly expand their audience.

Brad: Excellent responses, Tad. I didn’t know about the divided duties regarding two different versions of The Absolute Universe. I must admit, while I love both versions, I’m still much more taken with the extended version. For two reasons, really. First, I love all of Stolt’s guitar and vocal parts. And, second, because my favorite track–”The World We Used to Know”–is only on the extended version. “The World We Used to Know” is the quintessential Transatlantic song, blending the old so perfectly with the new. It’s clear that the band is honoring Yes and Rush in the song, but the song remains completely a Transatlantic track, despite its influences.

If I were forced to rank Transatlantic’s first four albums, I would rank them: SMPTe; The Whirlwind; Bridge Across Forever; and Kaleidoscope, recognizing that each is great. That is, there’s not a huge difference between No. 1 and No. 4 in terms of quality. I have to give the first place to SMPTe, mostly because of the memories associated with my first listen to it, twenty-one years ago. Those opening chords still ring in my soul and play in my mind. It’s such a classic.

Now, after having given The Absolute Universe several spins, I would place it in the No. 2 spot. It might, in some ways, be better than No. 1, but I’m still too taken with SMPTe–even after 21 years–to rank it anything other than No. 1. Regardless, The Absolute Universe is truly special, and life is better because it exists.

Tad, what version did you end up buying? At first, I ordered individual copies of the abridged and the extended, along with the blu-ray. I quickly changed my mind, however, cancelled that order, and then ordered the deluxe package from Radiant Records. I was a bit hesitant at first to do this, given the money involved, but now that I’ve heard and devoured The Absolute Universe, I regret nothing!

One thing that strikes me as interesting. There’s definitely an overlap of style when one considers the Neal Morse Band, The Flower Kings, and Transatlantic, and these three bands have so critically defined Third-wave prog. Yet, they have hardly any imitators. It’s impossible to imagine the current prog movement without, for example, Steven Wilson and all of his imitators. Why isn’t the same true of Stolt, Morse, Portnoy, and Trewavas?

Tad: Good question, Brad, and one that had not occurred to me until you asked it. My first answer is because they are all such incredibly talented artists that any attempts at imitation would pale in comparison! But I also think Portnoy doesn’t get enough credit for his role as arranger and producer in Transtlantic, and he is simply inimitable in the music world. WIthout his energy and guidance, TA would not be near the artistic force they are.

Like you, the more I listen to both versions, the more I prefer the extended one, Forevermore. I go into greater detail why in my earlier post on this album.

My ranking is the same as yours, except I would place Bridge Across Forever ahead of The Whirlwind. I think the melodies are stronger on BAF. Also, I always get a kick out of Suite Charlotte Pike, because Charlotte Pike is a road near my home that I often drive on!

As far as what edition(s) I ordered, I went with both the extended and abridged versions, but I am very tempted to go for the big box like you did. I imagine some people might consider the release of so many different versions a crass commercial move, but it’s really not. Every version is a separate work that stands on its own, and I am grateful to Morse, Portnoy, Stolt, and Trewavas for bestowing so much music on us.

Music

A Deluge Of Music From Transatlantic

January 10, 2021 Thaddeus Wert 3 Comments

Prog supergroup Transatlantic (Mike Portnoy, Neal Morse, Pete Trewavas, and Roine Stolt) are releasing their fifth album next month, and it is an unprecedented project. Fans have a choice of not one, but TWO versions of the new album, entitled The Absolute Universe – a two-disc edition and a single-disc one, or a huge 5-LP, 3-CD, Blu-Ray boxset that includes both. In case you’re assuming the single-disc album is merely an edited, shorter version of the two-disc one, let me set you straight: these are two different albums that share some of the same musical themes and a few songs.

Let’s start with the single-disc version, The Breath of Life. The most obvious comparison is to Transatlantic’s third album, The Whirlwind, because TBOL is also one long song divided into sections. I think it is superior to The Whirlwind due to a greater variety of melodies and musical styles. The band has never sounded tighter, either. Portnoy’s drum work is phenomenal, particularly on the King Crimsonesque Owl Howl. All the members take lead vocals for various sections, and they all contribute music compositions. Trewavas’ Solitude is an especially nice passage, while Morse adds his unerring musical magic throughout the album.

Something I find fascinating is Morse’s statement in the liner notes that “everyone writes their own lyrics to their sections and we don’t usually discuss what it’s all about. Sometimes we’re writing about different things in different sections, but somehow it all works together in the end.” That four different personalities can combine to create as cohesive a work as The Absolute Universe is nothing short of miraculous.

Portnoy has stated that The Absolute Universe is a concept album, and that it touches on the events of 2020. For example, Morse’s lyrics

Where were you when everyone/Crashed and burned and fell/Into the silence of the sun/With nothing to be done

refers to his sense of God abandoning the world at the height of the pandemic.

Likewise, the lines

Where were all the seats preferred/And all the wise men winding up/The wisest of all words/And God’s love like dinner served/But now we wonder at the warning

is about lockdowns prohibiting gatherings and other social interaction.

TBOL ends on a high note with the exhilarating The Greatest Story Never Ends which segues into the spectacular finale of Love Made A Way, which is an acknowledgment that God actually has been present throughout all the tribulations of 2020. Musically, this song is one of the finest Transatlantic has ever recorded.

After listening several times to The Breath Of Life, I turned my attention to the double-disc Forevermore expecting to hear longer versions of the songs. Nope! This is a separate album from TBOL that happens to share a few musical sections. As good as TBOL is, Forevermore is even better. I can’t put my finger on exactly why I prefer it, except that it strikes me as more energetic and the songs that are unique to it are simply wonderful.

For example, if I only had TBOL, I would miss hearing Heart Like A Whirlwind, The Darkness In The Light, the delightfully poppy Rainbow Sky, and Stolt’s magnificent The World We Used To Know. Those are all essential Transatlantic songs now, and I would be much poorer for not having heard them.

So what’s my recommendation? Fans of Transatlantic will want to get both albums. True fanatics will splurge for the box set, which includes both versions on CD and vinyl, as well as a BluRay documentary of the making of The Absolute Universe. If I had to choose just one, I would pick Forevermore without hesitation. The good news is, you can’t really go wrong – it’s ALL great music, no matter what you go for.

You can pre-order The Absolute Universe at nealmorse.com.

Update: I neglected to mention that the BluRay also has a 5.1 mix of the album, and you can purchase it separately. For those fans with surround sound systems, that is probably the best deal!

Music

The Flower Kings: Islands

October 25, 2020 Thaddeus Wert

Here is the latest in what will hopefully be a regular feature at Spirit of Cecilia: a conversation about a current release from a favorite artist. Once again, Arts Editor Tad Wert joins Editor-in-Chief Brad Birzer, this time to discuss the Flower Kings’ latest, Islands.

Birzer: Somewhat surprisingly–especially given how recently the band released its last album, 2019’s excellent Waiting for Miracles–The Flower Kings is just about to release its fourteenth studio album, Islands. It comes out on October 30.

And, it’s not just any album, but a double album.

Tad, we’ve had a few weeks to listen to the promo, and I’m really curious what you think. It’s a collection of (generally) shorter FK songs, but with all the FK trademarks and psychedelic flourishes one would expect from the band.

Islands reminds me a bit of Stardust We Are in terms of its structure, but that album was more epic in reach and in scope. With Islands, however, it’s great (as always) to have the trademark dual vocal leads, but I think some of the instrumental passages and songs are simply stellar. Track 2 on disk 2, “A New Species,” for example, really stands out for its musical innovation and flow. I definitely would love an entire album built around this track, much like what a much younger FK did with Flower Power. This is the kind of track that proves that FK is still a major powerhouse of prog.

Yet, there are a few moments that make me scratch my head. The band has released as the first single from the album, “Broken,” the fifth track on disk one. While the song has some achingly beautiful moments, especially lyrically, there are guitar and keyboard passages that are lifted almost directly from the theme song of The Simpsons! Whether this was intentional and playful on the part of the band or not, I have no idea.

Still, while Islands is an excellent album, it’s very much rooted in third-wave prog.

Wert: Brad, I know the Flower Kings are one of your favorite groups, so I am honored you invited me to talk about them with you! I had a little chuckle when you said, “It’s not just any album, but a double album.” Looking at my music library, I have 13 studio albums of theirs, and no less than 9 are two (or more) discs. That’s almost 70%! I have enjoyed their music very much, but there are times when I wish they had an editor; I think some of their albums would be improved if they tightened them up a little.

So what about Islands? I agree that the songs are generally shorter, and that is a good thing in my opinion. The ones that immediately grabbed me were “Black Swan”, “Broken” (except now that you have pointed out the Simpsons reference, I can’t get that out of my head!), “Tangerine”, “Northern Lights”, and “Fool’s Gold”. A common thread of them is that they feature the vocals of both Roine Stolt and Hasse Froberg. I think when they collaborate the energy level really rises.

In their press release, Stolt says that the listener should approach this set as one long piece, which makes sense. When I first heard “Heart of the Valley” on the first disc, I thought it didn’t go anywhere; it sounded like a section of a larger epic. Well, on the second disc is “Telescope”, which is quoted in “Heart of the Valley”, so Islands really is one 90 minute suite. Once I approached it in that light, the songs I first considered throwaways took on more significance.

As Spirit of Cecilia’s resident FK expert, how would you rank Islands in their discography?

Birzer: Tad, great thoughts. Thank you for them. As much as I like Islands, I wouldn’t immediately rush it to the top in terms of rankings. My favorites from the band are Space Revolver (far and away, my favorite) and Paradox Hotel, followed closely by Stardust We Are and Unfold the Future. So, as much as I like Islands, it would rank–at least in these early stages of listening–somewhere in the low middle of their albums. Maybe around the level of Banks of Eden.

Above, when I mentioned that the album is deeply rooted in third-wave prog, I meant this more as a statement of fact than as one of judgment. What I like about my favorite FK albums is their energy and their innovation, the chances the band takes. Overall, Islands seems low energy compared to the band’s best work and innocent of any real innovations.

It’s still a FK album and that means it’s better than 95% of the music out there. But, within the FK discography, Islands ranks fairly low.

Wert: I’ll go with that assessment, Brad, although the more I listen to Islands, the more I like it. And I want to give a shout-out to Roger Dean for the incredible cover art! My takeaway: Islands is a solid effort by a band that is in no way in decline. They are still making vital music, and for that I am grateful.

I’m looking forward to Roine’s work with the new Transatlantic album that is slated for release soon!

Republic of Letters

In The DropBox: Ayreon, Flower Kings, And Short-Haired Domestic

October 7, 2020 Thaddeus Wert

This week, I feel like the DropBox is in a holding pattern (with one exception). We have two well-established prog artists with new albums, but neither one indicates much artistic growth. Both are solid efforts that will certainly please die-hard fans, but I don’t see them attracting many new ones.

ayreon-e28093-transitus-600x600-1

Arjen Lucassen, the king of prog operas, has released a new magnum opus, Transitus. This is the first of his operas that isn’t tied to his Ayreon world in some way (although there is a sly reference the “The Human Equation”). Transitus is a Victorian ghost story/morality play that tells the story of two doomed lovers – one a wealthy young man and the other a servant of his – and how they overcome the barrier of death to be together.

If you’re an Ayreon fan, musically this fits in with everything Lucassen has done previously. There’s not a lot of new ground broken, but it’s hard to fault an artist for being so consistently good. Tommy Karevik (Kamelot) sings the lead role of Daniel, and Cammie Gilbert (Oceans of Slumber) takes the role of Abby.

islands

The Flower Kings are never ones to stint their fans when it comes to providing music, and Islands is no exception. It is a big 2 CD album that features Roine Stolt’s trademark guitar work and laconic vocals. On this outing, I actually prefer the songs bandmate Hasse Froberg sings – he is a little grittier. According to Stolt, all of the songs revolve around the theme of isolation, hence the title. There are some beautiful moments in this sprawling set, particularly All I Need Is Love. Fans of the Flower Kings and Transatlantic will not be disappointed with this one.

short-haired-domestic-album-cover

This album is the most interesting one of this week’s batch. Short-Haired Domestic is Tim and Lee Friese-Greene, and their offering is not exactly prog, but it is some of the most delightfully quirky artpop I’ve heard in a long time. Every song is sung in a different language – Japanese, Bulgarian, Italian, German, Hindi, even Latin. It is funky, catchy as hell, and just plain fun. Tim is best known for his extraordinary production of Talk Talk’s last few groundbreaking albums, and Short-Haired Domestic makes clear he still has a few tricks to share with us.

Here’s the first single, A Song In Latin About The Importance Of Comfortable Shoes (yes, that’s the actual title):