For over a quarter of a century, Sweden’s The Flower Kings have been a staple and constant presence in the world of modern progressive rock. With their hearts and roots firmly placed in the classic prog of the 70s, Roine Stolt and company have always merged this love of the past with the sounds, and ethos of the modern world. Their sound and his voice are distinct, having been a part of some of the most important prog releases in the years since (both with TFK, and Transatlantic) their debut in 1995. And now they are looking forward, while also embracing their past with ‘By Royal Decree’ an album that not only includes some compositions written prior to their first album, but also reunites on record Roine, and his brother and founding member, Michael Stolt (bass, backing vocals) for the first time in 20 years. And in spite of all this intentionally retro feel, this new album is the freshest sounding the band has sounded in recent years.
It should be noted that this album is very much a prog ROCK album, unlike some other of Roine’s projects, there is no hint of metal, or aggressive music to be found on it. In that way it is certainly similar to their earlier albums, it is certainly rock music, but there is positivity, and often optimism that threads its way through the two disks that make up the album. That positivity and light is also a return to their roots, indeed that was almost a defining feature of their early albums. Likewise, the 90 minute runtime over two disks is also par for the course when discussing TFK. There are no epics this time however, the longest song is only 7:45, which by prog standards hardly constitutes a warm-up. That being said, though I think they are at their best during the long songs, the quality of writing, and performance on this album doesn’t make me miss them this time around.
Disk one begins with “The Great Pretender” and the sound is immediately familiar, Roine’s guitar tone blends seamlessly with the organs, and synths, and the twin vocals approach of Roine and Hasse Fröberg are incredibly distinct. The song deals with finding your way in life, choosing how you will live your life, and the sound feels lifted right out of their ‘98 classic ‘Stardust We Are.’
As previously noted, this is a double album, with 9 songs on each disk, so going through most of the songs isn’t practical. I will hit on a few standouts on each disk, however, because in truth, once you get the vibe, and sound of a TGK album, there are few surprises along the way. One of my favorites from the first disk is the hopeful, and more mellow “A Million Stars.” The song is a plead for love, familial love especially, and a call to look beyond the mere material world. The key to the song lies not only in the distinct and warm melody, but with one of Roine’s uncountable liquid-smooth guitar solos, and touch.
Disk two kicks off with “The Great Healer” which begins in a fairly low-key manner, with quirky percussion similar to a glockenspiel that can be heard prior to the guitar, and keys. The song is boosted by another catchy chorus this time with a line that due to its vivid image frequently has gotten stuck in my head “like shiny green apples” I don’t know why, but its whimsy works very well for me.
Things turn a bit darker with the eerie, and mysterious “Moth.” The beginning is slow and atmospheric with discordant piano and saxophone. The tone is only fitting because it tells the story of the Mothman, a creature of folklore in the Port Plesant area of West Virginia. This dark, winged mysterious being is said to lurk in the shadows and swoop upon cars, causing tragedy, and misfortune for all who see it. Likewise, some claim to have seen it on the Silver Bridge (mentioned in the lyrics) which collapsed in 1967, killing 46 people. The song gives way to “The Big Funk” which is the polar opposite of “Moth.” It is fast-paced and contains some of the most exciting, and driving music on the album. Primarily moved forward by keys and well balanced vocal counterpoint, the bass work is exceptionally tight, as is the heavier drumming of Mirko DeMaio.
The album closes out with “Funeral Pyers” and at just over 7 minutes, it is one of the longer tracks. With themes of life and death it is a fitting closer, and as is fitting it is another faster-paced song, with greater emphasis on the “proginess” of it, and playing around musically. It features several instrumental sections which tie in nicely with the vocals, which are mostly sung by Hasse. It makes for a satisfying and enjoyable conclusion to a lengthy retro-prog opus.
The Flower Kings have not done anything especially new with ‘By Royal Decree’, there is nothing on here that fans of the band haven’t heard before. But at the same time, they looked to their earliest years, and by bringing that to the present have crafted a prog album that is musically fresher, and more interesting than their more recent work. It is a lengthy, yet enjoyable listen, and one that fans of their earliest albums, in particular, will most likely find a lot to love.