Norwegian composer and guitarist Anders Buaas has released a concept album titled Tarot. Buaas was born in 1974 in Larvik, Norway. He has played with numerous bands and produced several albums in Norway. He has been a touring guitarist for Paul DiAnno (former Iron Maiden) and Tim Ripper Owens (former Judas Priest) for many years.
Buaas later started a fascinating project called The Witches of Finnmark. It is a trilogy, an instrumental journey based on stories about the prosecution of witches in Finnmark in the 16th and 17th century. Tarot is his fourth solo album.
Buaas talked to Progressive Rock Central about his career and the new album.
What are your fondest musical memories?
So many, but the highlight of my career so far must be the European tour I did, playing guitar for Tim Ripper Owens back in 2010.
What do you consider as the essential elements of your music?
A mix of all the music I´ve listened to in my life. Metal, Prog, Folk, Jazz and Movie Soundtracks.
How did your musical ideas evolve throughout the years from your first recordings to your latest works, the Witches of Finnmark and Tarot?
My first bands were more mainstream rock and metal, and I was very influenced by great rock and metal guitarists, Page, Blackmore, Malmsteen, EVH etc. Then I got into prog and jazz and used more influences from greats like Al DiMeola, Mike Oldfield, Steve Howe, Alex Lifeson and so many more. I have also been teaching guitar for many years and worked as a producer in many genres, so I think in my later solo projects you can hear a mix of many different musical influences and genres.
Your latest solo works are concept albums. Let us begin with the Witches of Finnmark. What inspired you to make this album and who were the witches?
Back in 2004 I came across a documentary on Norwegian television about the witch trials in Finnmark in the 16th and 17th century. This fascinated me, and I wanted to write some music based on this part of Norwegian history. The idea stayed with me for many years, and I later discovered a book called “At the gates of Hell” by Rune Blix Hagen (historian). This inspired me to write the trilogy and to get the project going.
The witch trials in the north of Norway were some of the most horrific ever, and they were well documented through court notes and more, so there’s a lot of material to read about this period in time. It is also a tribute to remember all the women who lost their lives by being tortured to death or burned at the stake.
The latest release is Tarot. How did this project come about?
I have always been fascinated with the Tarot cards, the symbolism and the images. It have inspired artists in all fields of art for many years. I wanted to interpret each card with a musical theme. I also wanted an artist to make artwork for each card, to make this a complete concept.
On Tarot, you collaborated with Norwegian visual artist Verena Waddel who designed 22 original paintings. What came first, the music or the paintings?
My musical ideas came first, but they were not finished, so Verena worked with my demos, and then sent me sketches that I in turn used while arranging and mixing. This was also done during the pandemic, so we sent lots of files back and forth, as we worked a lot separately.
What instruments and equipment do you use to create your albums?
I have lots of different electric and acoustic guitars, and also mandolin, banjo, bass guitar, keyboards and a small drum kit in my studio. I had to purchase lots of percussion instruments for the recording of Tarot. I use Cubase as my DAW for recording and mixing.
What have you been doing these past months while there were frequent lockdowns and social distance restrictions?
Tarot was my main project, as I had written most of it before lockdown, but started recording just as the pandemic hit. Fittingly, I play all instruments on Tarot myself, so I needed only myself to make the recordings. I got a lot of work done, as there was not much else to do in that period. I also made two collections of Improvisations, inspired by my home town Larvik, during lockdown.
Mainstream media does not provide an easy outlet for progressive music in general. In what ways are you promoting your music?
I work closely with my label Apollon Records, and I am very active on Instagram and Facebook. I also try to post videos regularly on YouTube. It is a lot of work, but over time, you can reach a lot of people if you are consistent.
What advice would you give to beginners who are anxious and want to make music outside of the pop mainstream?
Make the music that is in your heart and nothing else. Don´t try to fit your music to a mold, to reach an audience. I believe that honest music will reach its audience, if you stay true to your vision. If you try to shape your music to whats popular today, it might be too late when it is finished and released. Just be honest and keep on writing and playing all the time.
If you could gather any other additional musicians, or bands, to collaborate with, whom would that be?
I would love to do an album collaborating with Mike Oldfield!
Aside from the release of the Witches of Finmark and Tarot, do you have any additional upcoming projects to share with us?
I have written my next project already, and the recording process is maybe 50% finished. My next album will feature Marco Minnemann on drums and Tony Franklin on bass. I hope to release this early 2022.