Waiting For Miracles＜限定盤/Blade Bullet Vinyl＞

元KAIPAのRoine Stolt(g/vo)が率いる、北欧のみならず世界のプログレッシブ/シンフォニック・ロックシーンを牽引するスウェーデン出身名シンフォニック・ロックバンド、当時6年振りのニューアルバムとして話題を呼んだ'19年作『WAITING FOR MIRACLES』がオランダ:Construction Recordsより"Blade Bullet"カラー・ヴァイナル仕様/180g重量盤の2枚組限定アナログとして'25年再発!

Roine Stolt・Jonas Reingold(b)・Hasse Froberg(vo)らお馴染みのメンバーにZach Kamins(key/g)・Mirko DeMaio(drs/per)を迎た新体制により制作された一作。ABBAのBenny Anderssonが所有するヴィンテージなスタジオで録られた本作は、ROINE STOLT'S THE FLOWER KING名義の'18年作『MANIFESTO OF AN ALCHEMIST』で感じさせたモダニズムを備えながら、往年のキーボード・プログレを感じさせる音色と爽快なシンフォニック・ロックを擁して機知に富んだ展開をしていく大作。Stolt自身も'pure prog rock'と称している、揺るぎない高品質なプログレッシヴ・ロックを聴かせる快作です!

Waiting for Miracles is the first long-player by the Flower Kings since 2013s Desolation Rose. It marks a return from exile for the Flower Kings after 2018s Waiting for an Alchemist -- which was billed to Roine Stolts the Flower King. Here Stolt, Hasse Froberg, and Jonas Reingold are joined by new members keyboardist Zach Kamins and drummer Mirko DeMaio who are not, based on what is here, fully integrated into TFKs aesthetic. This is a band offering that contains the complex mood, textural, and color changes, intricate melodies, atmospheres, and dynamics that are at the heart of TFKs musical signature. Waiting for Miracles clocks in at 85 minutes but showcases TFK in a more economical mode compositionally. Thats not to say the band are writing pop songs; their music remains challenging prog rock that recalls the sound and feel of the bands first five records. Its sonically bright compared to most of TFKs 2010s output. After the lovely intro that is House of Cards, complete with field-recorded gulls, waves, and thunder, a piano introduces an acoustic guitar on Black Flag, a paean to the glories and perils of pirating. Electric guitars, kick drums, Mellotron, and classical piano frame Stolts lyrics; its staggered vocal harmonies hover above stinging lead and slide guitar work. Miracles for America is the sets longest track at ten minutes. Its lyrics walk a line between political commentary and clever irony. Sweeping Hammond, Mellotron, and analog synths swirl about the foreground as Froberg, Stolt, and guest bassist Michael Stolt engage in lush yet playful vocal harmonies worthy of Yes and complex instrumental interplay. The song is built from a series of musical themes that don’t recur, but serve to move the melody along. Vertigo is an anthem; its lyrics confront fear head on, while the chorus melody deliberately channels Pink Floyds Learning to Fly. The Bridge is a gorgeous ballad that finds Stolts protagonist hopelessly intoning that hes waiting for miracles, though he doesnt expect them. As the song draws to its climax, his wonderfully moving guitar solo changes everything, and signifies that a miracle has been delivered. Stolts intuitive soloing is aimed at his accompaniment, not above it, displaying what a fine ensemble player he is. Sleep with the Enemy finds his verses dovetailing with Frobergs soaring harmony in the chorus. A menacing church organ builds intensity countered by fleet piano flourishes and spiky guitar fills. Disc two commences with a House of Cards reprise that bleeds into Spirals, a tune that further explicates musical themes from Miracles in America alongside syncopated, funky asides and electronic effects. Steampunk fuses prog and jazz seamlessly with complex rhythms. We Were Always Here is offered with layers of rolling tom-toms in the foreground. Reingolds brilliant bassline is a lead instrument as the spine of the expansive melody guides the band. Its a breathtaking climax; it should have closed the album instead of the throwaway Busking at Brobank. That disappointment aside, Waiting for Miracles marks a welcome return for the Flower Kings. ~ Thom Jurek