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(132 min 2CD, Inside Out) Prolusion. THE FLOWER KINGS; how much introduction does a mega-band need? "Paradox Hotel" is the band's 10th studio release. Paradox Hotel is something of a metaphor for life. We check in, we check out and in between we rub elbows with any number of different types. The cover illustration is done in an almost 60's Underground Comix look, a striking contrast with the Ciruelo painting for Adam & Eve.
Disc 1 (72 min)
TRACK LIST: 1. Check In 1:37 2. Monsters And Men 21:21 3. Jealousy 3:24 4. Hit Me With A Hit 5:32 5. Pioneers Of Aviation 7:51 6. Lucy Had A Dream 5:28 7. Bavarian Skies 6:34 8. Selfconsuming Fire 5:49 9. Mommy Leave The Light On 4:38 10. End On A High Note 10:43 LINEUP: Roine Stolt - guitars; vocals Tomas Bodin - grand piano, keyboards Hasse Froberg - vocals; guitars Jonas Reingold - bass Hasse Bruniusson - percussion Marcus Liliequist - drums
Analysis.
"Coming up on one minute. Mark. T-minus 60 seconds and counting..." NASA Control recordings dominate the opening track Check In, including the countdown for a space launch, which culminates in the sounds of a ping-pong ball being hit and bouncing. A ping-pong ball? Hold it, didn't they use this schtick on "Retropolis"? (I thought Rhythm of Life was funnier.) Monsters & Men has a promising start, with some of Mr. Bodin's piano work, but becomes an overly long meandering. A line in the release material captures it quite well: "Paradox Hotel" is just another romp through progressive rock excess. It is well played and full of trademark Flower Kings instrumentation. There is absolutely no question who you are listening to. It's just about twice as long as necessary to do what it does. Jealousy is a wicked little song, presented gently like a lullaby, but the lyrics are full of the sickness of a jealous heart, a fine little twist of irony. Pioneers of Aviation is a highlight of the first disk, as it steps most boldly out of the mould. The opening few measures could almost be a Thjis van Leer - Jan Akkerman collaboration, but this is very brief. Truly, there is a meatiness to the synthesizer and guitar parts as they develop that sound anything like a parody of old FK albums. The one instrumental track on the first disk, it soars like the heroes of its title. Lucy Had A Dream is another surprise, as it almost plods along for too long, but picks up during the dream sequence, sounding like an orchestration of a carnival calliope soundtrack to a comical nightmare, including an oom-pah-ing tuba. Bavarian Skies is a bad joke that doesn't know when to quit, like a shaggy dog story, dragging on for six and a half minutes. The vocals are sung with a heavy affectation, sounding like something out of an old B rated horror movie, Hitler lamenting how misunderstood he is. In the background old speeches by der Fuhrer can occasionally be heard. Make no mistake, the band is obviously no fan of the Third Reich's main man, but I find myself asking "why?" Selfconsuming Fire utilizes some lovely Spanish guitar work. It's a quiet and rather melancholy song until the halfway point, where it picks up and an organ backed electric guitar solo takes over. Once upon a time Roine proclaimed that he wanted his music to be an uplifting alternative to the dark perspectives of so much music that was on the market. Although it is a far cry from death metal, Roine's music has taken a bit of a turn for the dark lyrically. Mommy Leave the Light On is a quiet little song sung from the perspective of a child, much afraid of everything. The title tells the tale of the end track of the first disk. End On a High Note is much brighter in lyrical and musical content, feeling more like what would make The Flower King himself smile. It is a look at the beauty that does still exist all around us, if we simply look to see it.
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