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Welcome to Paradox Hotel. We're going to try to make
this visit as pleasant as possible. We're going to try make
each one of you feel right at home. Alright!
One, two, three…
Finally, I understand Roine Stolt's vision. The drums
have been streamlined in such a way that rather than congest
the air with a corsage of jumbled jazziness, they instead
approach us with a tactic that's both clean and cultured.
The music is now more intuitive to your ears than ever.
Speaking of Stolt, how old is he anyway? He's been in
the game for quite awhile, yet he looks like a kid on stage.
At first, I was wondering, who is this young guy and why is
he hanging around The Flower Kings? As a result, I was actively
on the lookout for him. It made me chuckle when I became aware
of my oversight. I guess you could say that all this gigging
has kept him very young. Otherwise, he's using some miracle
cream from an infomercial I'm yet to see. In either case,
I wonder what it's like being the coolest cat habitating within
the progressive realm.
As to the music itself, I was awestruck in my first reaction.
They sound tremendous in concert and one song in particular,
the title track to Paradox Hotel, really wowed me. While not
one of my favorites on the album, the song sounds absolutely
fantastic here. Whatever rehearsal was done in preparation
has gotten this tune superbly tweaked. It arrives in the most
sophisticated manner as well.
Ten, Nine, Eight, Seven, Six, Five, Four, Three, Two,
One... Ignition.
After a countdown, followed by a ping-pong match, this
very title track is used to kick off the event. As it turns
out, it's just the start to a series of hair-raising wonders…
We visit several of their standard landmarks, too. Though
it's only a few years old, "The Truth Will Set You Free" is
timeless. "Stardust We Are" also endures another majestic
appearance. While it's almost become tradition for these two
to surface at every engagement, like Dick Clark (and Roine
Stolt), neither seems to show their age.
As to the latter, it's still the faithful crowd-pleaser
it's been since the very beginning. When all is said and done,
the highlights include both the old and the new.
Okay, so that was meant to be the wrap-up, but it's too
good to end right here... To heck with the synopsis, let's
just delve into the details:
Disc One
After "Paradox Hotel," we receive a wealth of righteously
sacrosanct songs. A psychedelic transition occurs between
"Hit Me With A Hit" and "Last Minute On Earth." The latter
happens to be one I like more than general consensus typically
states. I appreciate it for its mean riffs and countless unique
traits.
I heard "Last Minute On Earth" for the first time in a
live setting long before ever hearing it off a recording.
I must also add that this concert I reference occurred on
September 14, 2001 … Think of the coincidence… bingo, you
got it. For that reason, it carries added significance. Regardless,
I always felt it was sharpest when seen in the flesh and in
this instance the experience is no different.
Next, "In The Eyes Of The World" has never, and I mean,
never sounded this good. For the record, The Flower Kings
might actually sound better live than in the studio, which
is a statistical rarity, making them literally one in a million.
"Jealousy" was an interesting choice to follow. At first
it slowed down as if it were weighed down with water. Once
the sail soaked up the wind, it drifted. Then as soon as the
schooner tacked, they were underway.
"What If God Is Alone" was another entity with a holy
posture. In this session, it sounded similar to U2's "Where
the Streets Have No Name." Hasse Fröberg embodied Don Henley,
that guy from The Eagles, and I'm not talking about an American
football team.
Subsequently, "Pioneers Of Aviation" soared through the
skies. With its instrumental innovations, it braced onlookers
for assimilation into the new age. Once it took off, the populace
was beset with bliss.
To finish off the side, "Love Supreme" and "The Truth
Will Set You Free" stake their claim. Here they a pair of
exceptionally well-enacted epics. In the former, the verse
"work of the master's hand" is masterfully sung. In the latter,
they reveal why this very song is considered their greatest
masterpiece.
Disc Two
"Touch My Heaven" is bestowed with an explanation from
Bodin. For those who have never heard him utter a single word,
he has a very elegant way of speaking. He lets it be known
that the inspiration of the song is about getting up once
you've been knocked down. Interestingly enough, the performance
parallels its esteemed introduction.
Around this time, a heckler barks out some series of curse
words. In response, Stolt says you're *bleeping* great, too.
While a future edit is promised by Stolt, it remains intact
in all its repugnant glory.
Reingold brings out double-headed beast for "Mommy Leave
The Light On." There is no reason to be intimidated by this
ditty. It's just a precursor to another extraordinary piece.
That would be "End On A High Note" where Marcus Liliequist
finds his stride.
This particular song comes off unusually sharp. The guitar-playing
by Stolt and Fröberg are also crisp. There is this magic moment
in the middle where the group switches gears and transports
its riders to a fantastically ethereal place. The only other
time I can remember feeling this elated was at a point in
a Tangent concert, as well as a stint with Dark Star Orchestra.
However, this was the only time something emanating from the
TV set was capable of such an achievement.
I can undoubtedly say that "Life Will Kill You" is at
its finest live. The chanting at its core and the strong vocals
towards the end contribute to a superlative stature. Thus,
it now exists in a better place.
Fröberg voice impressively climbs the scales in "I Am
The Sun." I saw him do this once before at the previously
mentioned gig. That time he did it with "Stardust We Are."
Anticipating the end, a guy donning a Depeche Mode shirt
exits early. Bodin then bellows, "You are an extraordinary
audience." Stolt notarizes the bond with, "We say that every
night, but tonight we mean it."*
This appears as if they scaled the apex. Stolt storms
to the mike and says, "We have to play the last song." When
the gathering groans, he responds, "I'm a good boy." In hindsight,
he was obviously joking. The crowd is truly saddened but if
you listen closely he mumbles, "We're going to fool you anyway."
Not many seem to catch this quip as there are scores of unruly
protests. Funny enough, Stolt suggests giving them double
by dividing it in half.
They obviously pulled a fast one as more came to the surface.
"Blade Of Cain" is chosen for the next partition in the chain.
I must attest this song is a beauty. It is unusual for me
to describe a song in this manner. It only goes to show how
it instills an honorable ambience within me. It carries a
very admirable demeanor, too.
At some point in the encore, Stolt loses his coat and
Liliequist misplaces his cap. This is far from what can be
considered a wardrobe malfunction. It seems they're merely
sticking with more comfortable attire.
With "A King's Prayer," what gets delivered is the two
for one special. It comes encased in succulent layers from
The Beatles. Subsequently, they say goodbye for the second
time over venerated verses from the revered "Hey Jude."
Another encore is foreshadowed by time-elapsed footage.
This particular film exhibits the entire affair from the setup
to breakdown of the stage. It's also intriguing to point out
that it's accompanied by a sound byte recorded in the vacuum
of outer space.
The crowd keeps clapping and chants, "We want more." Stolt
grants their wish with, "Stardust you want, Stardust you get."
With that said, "Stardust We Are" is chosen as their last
and final expression.
Reingold gets goofy around this time and balances his
bass on his chin. That would be an expensive mistake if he
slips up. It's only a matter of time, so I hope he quits the
mischief.
The interpretation involved here seems to be more succinct
than what I'm accustomed to hearing. When it gets rolling,
the crowd sings along. While they might be out of tune, at
least the band didn't forget the human touch or the human
try.
I'm not entirely sure what the title of this song means
as it's not grammatically correct. I wonder if this is something
from the mouth of Master Yoda. I find it odd no other journalist
has made this connection. In any case, it is one bodacious
bonus track to tack onto such a frosty cake.
After filling our glass to the rim, our chalice overflows
with delicious drops from this savory ditty. As the good book
says, our cup runneth over. You could take a heavenly body
or a celestial sphere from the sky and you wouldn't find one
that dazzles in this manner. It's both a meteor burst and
a shining star. So in line with the name, our muppet friend
mutters, "sparkle they do."
The best part about every classic is that with a song
this good, it can't get any better. The band is so rehearsed
with every fine point attuned. They've dotted the "i"s and
crossed the "t"s. If you're looking for an act with the highest
caliber of cuts, this is "it."
When the credits appear, they're accompanied by a theme.
It treks along like Frodo in Lord of the Rings. This exercise
and excursion is bequeathed upon us by Bodin on his Mellotron.
As to the venue, the stage was organized and tidy that
night with a lightshow that was pristine. In general, the
theater was absorbing, intuitive, and urbane.
While this product is for the most part immaculate, there
is one minor flaw. The disc operates in an unusual manner.
If you go directly to a song it hangs or finishes abruptly
once it's done. However, if you play the concert as a whole,
it smoothly transitions between the tracks.
Aside from that, nothing negative to report. However,
here are a few points to impart into regards to the indispensable
input provided by each individual:
Hasse Fröberg's voice is so good, it'll make you wonder
why they were ever looking for a replacement (I do think Gildenlöw
has one of the best voices I've ever heard, but that shouldn't
make him a shoe-in for the varsity position.).
When Roine names off all of Fröberg's duties, I half-expected
him to complete his comments with a Howard Dean shout, a Taylor
Ware yodel, or a Chappelle-based be-aaah! Then again, Lillequest's
shirt reads Guau, which rhymes with Aaaaah! As to the others,
Reingold's bass playing is business as usual, which means
it's extra gravy on the side; in other words, it's just great.
He even has the white hat he's always wearing, but this time
he dons a fancy suit instead of a t-shirt.
Stolt is quite serious while Reingold is the bubbliest
of the bunch. He cracks the cork and sprays his entourage
with his misty vibrations.
While we're on the topic, Stolt's ensemble is pasted with
flowers and pastels. His playing is quite colorific, so it
matches the outfit. Plus, his shiny guitar is just plain stoic.
Bodin adds to the atmosphere and there's even a time where
he sings, though he uses a vocoder in cases where he croons.
When Fröberg belts out, "Clock is ticking, day in, day out,"
he parallels the verse with his own intonations. What exudes
from his lips is a wickedly amped-up demon voice.
He never plays the keyboard the same way twice. His varying
style makes him intriguing to watch and to listen to in person.
He's suave and relaxed at his post. You can tell he really
enjoys the arts and crafts of his trade.
Fröberg handles percussive tasks as well. Overall, I was
amazed with his provisions above all. While Ulf Wahlander
(sax) and Hasse Bruniusson (percussion) were absent, as much
as I like their contributions, I didn't miss them. Thanks
should go to Fröberg as payment for his compensation.
Blah, blah, blah…
I could go on for hours about this band. In case you haven't
known, they're a staple of the genre and kind of a favorite
of mine. If you're into labels, you could call them my pet
band. In my opinion, it's an absurdity, better yet a paradox;
they aren't more renowned and represented on the radio. Then
again, it's hard to say if they could find bigger fans.
If you're in the know, you've diddled their ditties often.
If not, check into the facilities and peruse their pieces
soon. For those who are new to the area, their hotel might
just be the very best place to stay. It goes without saying,
I highly recommend it! Since its inception, I've regularly
dropped anchor there.
They've done almost everything a single band could accomplish
and incorporate incalculable kitchen sinks. All that's left
is maybe… a concept album. For now, this concert suits my
fancy.
In summary, this is no-nonsense rocking from a group that's
become a marvel, a supernova, and a household name within
the progressive genre. In their latest DVD, they deliver the
goods with a smile, in working order, and way ahead of schedule.
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