It’s been ten years since the advent of The Flower Kings, and – interestingly enough – their discography is about as large as a band that’s been around two or three times as long. Seriously, do you know how many albums Stolt and company have released?! Back on topic, though, “Adam & Eve” is close to The Flower Kings’ usual sound, but it fails to transcend much of their older material.

“Love Supreme” is the one of the two requisite, lengthy tracks on the aforementioned record. The song is low-key at first, but eventually drifts into optimism-laden, progressive rock. The standard instruments construct the sonical landscape; “Unfold the Future” was remarkable insomuch that it utilized myriad, quirky instruments while “Adam & Eve” noticeably restrains itself. The production, however, is excellent and I’ve always fancied the guitar solos. Talent definitely runs in the veins of The Flower Kings. After the twenty-minute epic, “Cosmic Circus” fits comfortably onto the album. Clean guitar accompanies Stolt’s hippy-esque vocalizations. “Babylon” is a succinct, instrumental piece, which is chased by the nine-minute “A Vampire’s View.” Check the introduction to the latter for some cool synth effects. This is perhaps the band’s most whimsical moment on their latest full-length; darkness pervades “A Vampire’s View” and it’s probably my favorite track from the record. “Days Gone By” is a piano composition that is reminiscent of the sound of earlier days, but it peters out after passing the one-minute mark. “Adam & Eve,” the title track, follows with an edge that is rarely seen within The Flower Kings’ repertoire. “Starlight Man” is light-hearted; “Timelines” is bombastic upon inception. “Driver’s Seat,” the other looooong track, and “The Blade of Cain” close the release.

Even though I think that the Swedish guys are fantastic musicians, pen great songs, and have a wide array of output, I still find myself passing their material over. I literally have eight The Flower Kings albums in my CD rack, but I seldom reach for ‘em. They aren’t as memorable as I’d prefer, and “Adam & Eve” doesn’t obliterate the trend either. It’s good while it lasts, but you won’t recall it after the disc is pried from the jaws of your player.

[This review was first published on the now defunct scandinavianmetal.info webzine]