Just when I thought I was out reviewing all my Flower Kings records (not really out – since wrapping up last year I picked up another 3 albums from them), Roine Stolt and co. had to go and release another record. And not just any record; the simply-titled LOVE is to my ears the strongest set of tunes the band have put out in recent memory. Maybe even their best since reforming in 2019. Not at all what I was expecting, especially since they continue to move in a less progressive, more song-structured focus but hey, when you have songs this strong I don’t mind the lack of 20-minute epics and conceptual suites. I want strong tunes with great playing, and LOVE delivers both.

Even in my own head there’s a mental disconnect on how good LOVE is. It’s a continuation of the shorter, less prog-forward songwriting Stolt brought forth with 2023’s Look At You Now, though now with his band firmly locked in place. Alongside Hasse Fröberg on co-lead vocals and guitar and his brother Michael Stolt on bass, he has a permanent keyboardist in Lalle Larson who previously was a live touring member, and Mirko DeMaio who continues on drums since the bands return in 2019. And as I listen I think the difference can be chalked up to his chemistry with the band – perhaps no coincidence this is the first album in forever where Stolt isn’t writing everything. And with that chemistry Stolt sounds freer than he has in forever, his guitar playing is sublime throughout LOVE, taking on a much more bluesy feel despite the lack of outright rockers.

The first batch of songs are particularly strong. Opener “We Claim The Moon” might be the most rocking track on the album, the band slowly fading into with a crunchy riff that accentuates DeMaio’s steady drums work and lets both Stolts and Larson run around with small but engaging pieces before Fröberg’s lovely voice comes in for the lead. There are plenty of choice passages and flourishes to put this in line for classic Flower King status. Next is “The Elder”, one of two mini epics at just over 11 minutes and it’s much more in line with the rest of LOVE: pretty melodies and a more laid back, easy vibe to Stolt’s typical happy hippy Christian themes. Fröberg again takes the lead vocally, but Stolt’s unique voice accentuates the song with lines peppered throughout. And speaking of Stolts, Michael’s bass playing is fantastic. It might be blasphemy to say, but he’s a more natural, integrated fit than Jonas Reingold’s more flashy, overt tone and technique. The song breaks for a terrific solo and lets its second half linger with numerous instrumental breaks even as the vocals are sprinkled in and out.

That laid back layered vibe takes on a slightly melancholic tone with the song’s first single, “How Can You Leave Us Know?”. It’s a lovely, very pretty song, but sequenced right next to “The Elder” and acting as the first single for the album might be one of the few, small issues I have overall with the album. Fortunately the vibe breaks with the brief keyboard instrumental “World Spinning” written by Larson which I find delightful before it hits with “Burning Both Edges” which is the other single from LOVE. There’s a lot of classic rock DNA in the song, and Stolt’s guitar work is superb, super tasteful and in service to the song.

As the album moves into its middle section featuring a number of shorter songs I think this concept of being “service to the song” is what really sets LOVE apart from its more recent predecessors. There’s a sense of cohesion to everything, and when the band shifts into different styles as they do on the murky, early 80s influenced “The Rubble” it sounds alive and engaged. I love the organs and the weird Procol Harum vibes “The Rubble” gives, and Hasse Bruniusson makes a return to the band to provide great percussion touches throughout. “Kaiser Razor” is another short instrumental, focused on Stolt’s guitar before pairing into a full band melodic sprint. The only other small misstep is the pair of tracks that follow: I’ll admit to having a hard time clinging to anything on “The Phoenix” and “The Promise”. Both are lighter, ballad fair, with Roine taking the lead vocals. “The Promise” benefits from some nice accordion courtesy of guest Aliaksandr Yasinski and takes its more folk influence to a better place than “The Phoenix” which while boasting another lovely guitar solo kind of leaves me as soon as it ends.

After the suite of shorter tunes, LOVE closes out really strong in its final tracks. “Love Is” might as well be the title track, and it’s a great energetic full band effort, meaning everyone is pulling up and laying out their best tricks for the engaging rocker. Lots of fun keyboard stabs from Larson, some powerful rock drummer from DeMaio, and did I mention how great Stolt’s guitar playing is? Because it’s fantastic, and despite LOVE not being the heaviest of albums it might boast some of his best guitar work in forever. “Walls of Shame” is classic Flower Kings: beautiful melodies with a killer Hasse Fröberg vocal, breaks and segues and a beguiling guitar solo that almost but doesn’t quite hide how much fun Michael Stolt is having exploring every space in the song with his bass. The keyboard work is fantastic – another huge lift over Look At You Now which was mainly Stolt doing the keyboards himself. I’ve seen some criticism over Larson not being Tomas Bodin, and well yeah: he’s not. But like Reingold (who’s happy putting out his own music) I can hear Larson fitting in much more seamlessly in the band, and when he shines he’s incredible.

That leaves the closing epic “Considerations” to provide maybe the biggest surprise on LOVE; it’s written and sung by Michael Stolt, along with Jannica Lund. An epic – a closing epic (well, as epic as you can get in 10 minutes)- and it’s not written by Roine Stolt? I’m as shocked as anyone, and after getting used to Stolt’s much deeper voice I’m kind of delighted by how fun it is. Maybe the most stereotypical “prog” track on LOVE, it gets downright funky in moments, Stolt letting his guitar zip along with fun lines while Larson again stands out with his organ (ewww) and electronic flourishes and a great solo spotlight.

LOVE did not need to be this good, especially 17 albums into the band’s career. But good it is, even great. I was honestly afraid after Look At You Now that the band might fade quietly into their twilight, but Stolt proves that quiet doesn’t mean tired, and there’s still plenty of creativity and drive left. Let’s hope it continues; in the meantime I’m plenty happy to spin LOVE another dozen times this week.