Interview
(Progressive Newsletter Nr.17 11/97)
excerpts from an interview with Roine Stolt (Vocals, Guitars)
The fact is that when people say "it can't be done" I get even more convinced that I'm going to realize the project. Regarding the double CD I was totally convinced and even prepared to lose money because of artistic achievement. I knew we had a good thing going and "Retropolis" was just the apetizer. "Stardust we are" has been a total success so far with smashing reviews and lots of airplay. We've been compared and equalled to the classic albums of the 70's era, amazing!
How long did it take to write all the material for "Stardust we are" and are there also some songs on this album, that haven't found a place on the albums before?
I started writing the material in November '95, just after releasing "Back in the world of adventures", but then I had this idea of doing the "Retropolis" thing, which was basically leftovers from previous recordings. Anyway, the new material I wrote was put on ice in favour of the "Retropolis" recordings and consequently we didn't start to work on it seriously until October '96. It is all new material and some of it was actually written during the recording period.
I heard it took years to write "Humanizzimo" from "The Flower King" album. How long did it take to write the epic title track from your current album?
Well it took some time to write and arrange "Humanizzimo", but it had many, many shapes before ending up in that final version of 21 minutes. "Stardust we are" was also very complicated, you see the problem is that when you are dealing with a song of 20-25 minutes it's so very, very difficult to get the continuity, to make sense, to get the natural flow. I mean it would not be a good thing if there was just this long epic song that made no sense, just an endless row of meaningless mini songs and sections put together in an attempt to make something bombastic, but with not much substance. I'd hate if people would feel that way about our epics, because we've put so much musical energy and emotion and serious effort into it, we hope that it's obvious for everyone to see that this is no fake, it's real.
The booklet of "Stardust we are" was created by Hippiefied Art. I guess it's you hiding behind this pseudonym, besides the other ones like the mysterious Dexter Frank Jr. Am I right and does this company work also for other artists?
Hippiefied Art is a mysterious traveller, they drop by our office now and then and deliver these sometimes strange fruits of psychedelic art. However I suspect they retire most of the time in some bungalow in San Francisco, desperately trying to lower the doses of that magical chemical dust they smoke or inhalate. They are strange and unpredictable people but we love them dearly nevertheless, they serve us only, no others.
In the last three years, you recorded four albums, worked together with Tomas Bodin on his solo album and also participated on The New Grove Project. Where do you get all the ideas for your music and how do you still find time to take part on other projets?
I work hard of course, but as I see it "I am music that's what I am". As soon as I open my eyes in the morning, I start thinking of new music, new projects. I'm addicted to the stuff, strings and things, shapes and smells of electric guitars, amps, Hammonds, everything about it. It has been like this since I was 13 years of age. It's really crazy.
Was the New Grove Project just another project for you or is there the possibility of even some live performances?
They called me and said they wanted my guitar on that debut CD, because they loved my playing, but also because of the fact that they could maybe sell more CDs on the fact that my name was on it. However on the new CD they are planning, I won't be part of it, nor Pär Lindh, they are going to record it in Switzerland with a different guitar player, maybe cheaper, but good as well, and Per Sundbom on keyboards, who initially went off the "Fool's journey" project, because he wanted to do new material instead. He's perfectly able and I wish them good luck with the new one. Jode Leigh is in there I think.
Do you know what your former band mates of Kaipa are doing and if there's still a chance for a reunion?
They work with music, but don't play anymore. Bass player Tomas owns a studio. Keyboarder Hasse owns a record store, drumer Ingemar is a music publisher. We have recorded with original line up 10 songs in 1992-93, but they were never finished. I hope they will be someday, even though 2 songs are featured on a sampler called "Vimus".
I fear there will be no reunion on stage, I believe we are too far apart regarding musical ability today, because I have continued playing and they haven't. It would take too much time in doing, sorry. I know of the rumour and I kind of started it! But at that point it seemed that we would really get something together. We had some good songs. We actually recorded an hour of music. But the main problem was lack of commitment. And I'm sorry to say but I believe some of the guys in the band don't seem to like, or have mutual respect for each other. That's a pretty hard situation. I kind of ended up being a Henry Kissinger over the phone for a while.
Maybe there will come a time that is right for a Kaipa release. A time of respect and kindness. However I'm ready whenever they tell me that they would consider serious rehearsals doing the Kaipa thing, a revial tour, but for me The Flower Kings is superior to Kaipa in every aspect.
Taking a look back on all the concerts and events you played with The Flower Kings. Which were the ones you really remember the most?
Well I remember the concert in Die Röhre in Stuttgart, because we played so breathtaking baaaad and the audience loved it soooo much! It's funny because we had so much against us that people don't understand really. Tomas Bodin was on heavy medication for a serious problem with the discs in his back, he had sever pain constantly and the drugs made him dizzy and disorientated. On top of that, he got some keyboard rig that was partly a catastrophy. The rest of us was okay, but we had this kind of Motörhead monitor level going on and that kind of put you off concentration. I know everyone did their best to put on something great and the guys in Die Röhre probably did their best to help, but the fact was that we were stunned by how bad we played. I guess we were saved from suicidal plans and heavy depression by the fact that the audienced loved us dearly anyway we played. It's amazing. And I get the creeps when I think of the fact that this video is circulation among evil proggers like a black unholy bible. Beware! Well then I remember Québec maybe in the same context, apart from the fact that Tomas had no back problems, but the monitors status was equally abnormal! I imagine a sound man, just one technician making his way through the crowd of 350 crazy fans to adjust the monitor levels that are situated on a monitor mixer on stage and then back to the main desk on the floor 15 meters way back. The organizer was almost in tears when he discovered his mistake. The place was sould out and people were constantly refused admittance because it was full. The crowd was unbelievably enthusiastic, frantic, crazy, nuts. We played a lot better than Die Röhre but not up to the standard we've set ourselves. People loved it. Amazing, I never experienced a crowd like that before. Los Angeles was great, but again Clive Nolan, Martin Orford and the boys had re-programmed the rented keyboards that caused the keyboards to produce the most interesting effects when we went on stage, ca. 20 minutes after John Wetton. No time for a last check. However I feel that we for some strange reason did quite well musically speaking and the audience loved it. So it was maybe the most memorable gig until now. We met a lot of lovely people, the crew was great and both Mr.John Wetton and Mr.Chris Squire, who I deeply respect, were present at the festival, so it felt like a more serious event in a way. Spock's Beard played brilliantly. Arena were a disappointment, both musically and personally. They borrowed my guitar for the entire gig, but didn't even bothered to say thanks although they had a couple of chances. Apart from that they didn't even say Hi to the rest of the guys of The Flower Kings, who tried to start a conversation. Maybe they were pissed that we headlined the festival, instead of them, but to be honest they weren't good enough. Personally I think Mr.Wetton should have headlined, I asked the organizers for it, but they wouldn't let it happen. I was both flattered and I felt the pressure to headline such a festival. We will eventually release a live CD in beginning of next year. We really hope to continue playing live and go to all the far away placed that have offered us gigs, and we hope to go on getting better as we are, as I see it, a band in the cradle of their existence and musical developments. So thanks to all of you fans for giving us your attention, we really try hard to deserve it. Peace!
Kristian Selm © Progressive Newsletter 1997