ANDERS BUAAS

Bandcamp info. 'Anders Buaas, born 1974 in Larvik, has played with numerous bands and produced many albums in Norway. He has been a touring guitarist for Paul DiAnno (Iron Maiden) and Tim Ripper Owens (Judas Priest) for many years before starting his own project: The Witches Of Finnmark, an instrumental journey based on stories about the prosecution of witches in Finnmark in the 16th and 17th century.'

This latest effort by Anders Buaas entitled The Edinburgh Suite (from 2022, with guest Marco Minneman on drums) is my first musical encounter with his music, and I am blown away, what a wonderful, varied and elaborate compositions. To me it sounds as progressive music in the true meaning of the word, adventurous and eclectic.

The Edinburgh Suite Pt. 1 Old Town: First twanging acoustic guitars, in a mellow atmosphere, Mike Oldfield comes to my mind, due to the pleasant harmonic and melodic blend of a wide range of instruments, from electric guitar and piano runs to harmonica and vibraphone. Then suddenly the sumptuous sound of a church organ, soon accompanied by fat Minimoog flights (in the vein of Rick Wakeman), and topped with the sound of Mellotron choirs. Then the music turns into electronic music featuring pulsating sequencers and cheerful synthesizer runs. Halfway a heavy electric guitar solo with powerful drum beats. In the second part back to an electronic sound, evoking Vangelis. Finally a catchy up-tempo beat with folky electric guitar work, culminating in a grand finale with a heavy guitar sound. Wow, how exciting, variety rules!

The Edinburgh Suite Pt. 2 New Town: The intro delivers spacey electronic music sound, with the beeps and bleeps, then a heavy metal eruption with blistering electric guitar and thunderous drums (like Yngwie Malmsteen). Then a dreamy climate with twanging acoustic guitar and soaring keyboards, blended with tender work on the vibraphone. Next, sequencing orchestral keyboards, turning into a mid-tempo beat with fiery guitar leads and propulsive drums, wow. In the second part again orchestral keyboard layers, then a tic-toc sound, spacey synthesizer flights, tender electric guitar runs. Finally a long and moving, strongly built-up guitar solo, in a slow rhythm, gradually a more lush atmosphere, with howling and fiery electric guitar runs, how wonderful and compelling.

I am impressed, what a strong and varied prog!

This review was previously published on the Background Magazine website, the oldest Dutch progrock source.

Anders Buaas, playing on heavy bands, focuses on 'The Witches of Finnmark', an instrumental journey based on witches' stories. His latest album is about Oldfieldian reminiscences, let's see because I crossed swords with him at Crescendo!

1.The Edinburgh Suite Pt. 1 Old Town is the first of two long tracks, over 20 minutes on the clock; straight away, a folk banjo rings a bell in my ear, yes from Ofdfield there is some but not only that; a jazzy break à la Zappa too; in fact this title is more of a drawer since I then find a Genesisian arpeggio; boom a majestic organ then a Jarrian synth sows doubt; There's enough prog blood in there to set you off and you've already spent 10 minutes without realizing it. The guitar finally appears, I would say, on a Vai, a Malmsteen, a Beck; downside where is the biniou and the typical Scottish air? The soaring, symphonic, progressive and captivating suite is a pleasure before the return of a country tune... remember the banjo, in short the parts are interspersed without too much transition, whether on purpose or not it denotes; Anders is not a penguin on the other hand and aligns the notes in rapid succession, tubular bells in the distance bring back to Oldfield, which I had not felt in concert recently; bottom drawer more bluesy, emotional, yes a little Gary Moore for these intoxicating melting notes; a progressive and fresh piece that made me forget time. 2.The Edinburgh Suite Pt. 2 New Town ... let's go to the new town, well read the titles otherwise what's the point...Du a Anders in what he does best, bordering on a guitar hero who doesn't take himself seriously, a heavy air, his old roots of course to flirt with Vai or Satriani; break yes you have to get used to it frankly, and the country side of the 1st side comes back, quickly erased by a bucolic, festive and majestic air; hop 8 minutes and the scent of the great Genesis after the gong, the guitar in arpeggio 'Horizons', it's beautiful, it's a souvenir atmosphere, a little waves, ambient air and these bells yes there it's a Obviously even Anders himself revealed his vibes towards Mike Oldfield. The guitar is meant to be shimmering, so the Wally Badarou-style synth adds marshmallow notes... I must be hungry there! Well I'm talking, I'm talking and bam already half, ah a zest of Rothery over there and a solemn air arises for the major title of the album: I explain to myself the sound comes from his fingers there, I don't feel any particular reminiscences, that will please those who don't like me to work on my memory... ah clock ticking a time bis? sovereign latent atmosphere before knowing where Anders wants to go... crystalline guitar in the background, the business is indeed this one, a guitar which draws its notes to melt, to close one's eyes and say to oneself that 'put .... that's good, without worrying about labels; notes to dance to, in slow 'of course' to seduce his girlfriend again and again because love has no end, yes that's it Anders offers sensitive prog to make you scream with pleasure, that's already not bad. So not so bad to have surfed the chronicle last year and to offer a slightly more subjective one.

Influences ranging from King Crimson and Genesis to Mike Oldfield, Al Di Meola, Marillion, progressive fusion rock, that's ultimately where Anders took me instead of visiting the pubs of Edinburgh with this Oldfieldian touch mixing lots of genres .

Multi-instrumentalist ANDERS BUAAS (also known as Andy Boss) has been quite prolific in the music biz having played toured with Iron Maiden's Paul DiAnno as well as Judas Priest's second vocalist Time Ripper Owens but in prog circles he's much better known in small circles for his ambitious solo albums that narrate complex tales beginning with the three album trilogy "The Witches of Finnmark" which exhibited instrumental journeys based on the stories of the prosecution of witches in Northern Norway in the 16th and 17th centuries.

The trilogy caught the attention of the prog world for its adept mixing of styles with influences ranging from King Crimson and Genesis to Mike Oldfield, Al DiMeola, Marillion, Jeff Beck and even neoclassical shredders like Yngwie Malmsteen. The trilogy was followed by "Tarot," another concept album covering, you guessed it, the card deck that has bemused astrologers far and wide throughout the ages. The current calendar year finds the release of BUAAS' fifth release THE EDINBURGH SUITE which unsurprisingly is a concept album about the streets and history of the Scottish capital city.

The album of a classic prog album playing time of 42 minutes consists of only two tracks roughly around 21 minutes each both titled "The Edinburgh Suite" with track one evoking inspiration from the "Old Town" and the second track taking on the "New Town." Some would even call this a rock opera but i dunno, can an all instrumental album be called an opera? What we basically have here is a modern interpretation of Mike Oldfield's "Tubular Bells" with shapeshifting musical motifs covering many different musical genres and stylistic approaches. The musicians recruited are impressive and include Marco Minnemann (Steven Wilson, The Aristocrats, The Mute Gods, The Sea Within, etc.), bassist Tony Franklin (The Firm, Blue Murder, Whitesnake, Derek Sherinian, Rocket Scientists, etc.), keyboardist Richard Garcia and percussionist Christian Berg.

The musical genres covered range from progressive rock to bluegrass, Krautrock, jazz, heavy metal, piano rock and tubular sounds clearly derived from Mike Oldfield's classic debut. While impressive in scope and interpretation unfortunately this release fails to hold up in execution. For my ears the album is basically copying the "Tubular Bells" playbook a little too close for my comfort. Unlike Oldfield's classic golden age of prog recordings, THE EDINBURGH SUITE feels contrived with decent but not outstanding melodies to really yank your attention in and keep you fixated on the developments. On the contrary the melodic grooves are rather simplistic and seem overly fortified with tricks and trinkets to simulate a much grander experience.

The album seems highly revered but for whatever reason it really doesn't resonate with yours truly as i can't get past the fact that it lacks a deeper substance that warrants all of these elements convening for a greater musical sum of the parts. THE EDINBURGH SUITE is certainly a noble effort and by no means unpleasant in any particular way but it just seems that the ambitious nature of the project isn't matched by neither the musical performances or compositional fortitude. The production feels a bit sterile at times however the different styles do organically gel but considering the album is supposedly narrating the tale of the majestic Scottish city of yore and also of the present, not once do i ever feel like i've landed on Scottish soil! Perhaps some bagpipes would do the trick? Decent effort but not completely effective either.

TAROT - the latest album from Norway's Andres Buaas is a must for all fans of instrumental guitar-led music ? with a range of acoustic and electric guitar styles ranging from delicate, folk-influenced pieces all the way through to full- on electric guitar shredding ? and everything in between!

The first time I came across the multi-instrumentalist from Larvik, was back in 2017 with The Witches of Finnmark and its beautifully atmospheric title track (and an album cover that I am sure gave me the odd nightmare!) He continued his instrumental journey through the stories of prosecution of the medieval witches in Finnmark with two subsequent, well-received releases ? which increasingly showed his full range of guitar styles in both shorter pieces and more expanded prog-orientated epics as well. Two albums of Larvik Improvisions have been released during the current periods of lockdown ? but TAROT is his new, major release and is a work of ambition, dedication and undoubted skill.

Anders has brought together 22 musical pieces which describe the 22 cards in Tarot's Major Arcana and produced a musical landscape as diverse as the meanings of this set of mystical cards. He plays all the instruments ? including keyboards, bass, drums, percussion, mandolin and even a touch of theremin at times ? and this really enhances the guitar-orientated soundscapes. This often creates a lovely Oldfield-style experience to the music that is more of a homage than an imitation. However, the folk influences are there in abundance, along with progressive themes, and soaring electric guitar solos and well-pitched dense guitar riffs and arpeggios that would not be out of place on a prog metal recording (Anders was a touring guitarist with Tim Owens and Paul DiAnno in the past, amongst other bands).

The album kicks off with The Fool ? a short, light-hearted canter, which then moves to the chiming guitar runs of The Magician before The High Priestess introduces a darker and heavier feel. From then on in, the tracks range from shorter themes to more developed and extended pieces, full of variety and melody. No track outstays its welcome and as a result you can either appreciate them individually or as parts of multi-layered concept.

I do not intend to go through the whole album track-by-track, as listeners will undoubtedly find their own favourites. One minute you are enjoying the fresh, vibrant melodies of The Lovers, but then you are relaxing to the smooth guitar notes at the conclusion of The Chariot, on top of an evocative keyboard background, following Giltrap-like acoustic rhythms. Just when you think The Hermit has Hackett-style melodic overtones, a hillbilly acoustic theme provides an immediate contrast. Tracks like Death and The Devil, not surprisingly, have a more brooding, contemplative presence. I was often reminded of the eclectic style of Anthony Phillips throughout most of the album.

The shorter tracks are great fun and stop the album from staying in a particular style, but it is the longer tracks, where the themes are allowed to develop more gradually, which show Anders at his best ? both compositionally and instrumentally. The Hierophant is a highlight, with a soft, elegant acoustic guitar and keyboard repetition at the start, steadily opens up to a haunting keyboard theme and then some real electric guitar power after the half-way point. The Hanged Man starts almost like a modern western movie theme, before hopeful, uplifting guitar and keyboard passages take flight into the sky.

The album ends strongly with The World ? which is probably the one track that best sums up what Anders has been able to fashion on this release, and is the one I would recommend is listened to, for you to decide to explore further. Anders is a master of restraint and clean, melodic guitar playing and does not always need to show his wonderful virtuosity and dexterity for the sake of it.

22 instrumental pieces spread over a full-length CD or double vinyl album is quite a marathon, though. I found that whilst listening to it all in one sitting was an enjoyable immersive experience, I found I actually got more from TAROT by dipping in and out of the album at different times and enjoying the variety, atmosphere and intricacy exhibited by Anders across it. If you buy the CD or vinyl you will have the delightful artwork of Verena Waddell to accompany the tracks (you can even buy a full set of her illustrated tarot cards on Bandcamp). Hopefully, TAROT will provide lots of good fortune to Anders and will continue to increase his fanbase even further.

(From The Progressive Aspect)

Norwegian composer and musician Anders BUAAS has a long history as a band member of various acts in Norway, and has also been a touring guitarist for artists such as Tim Owens and Paul Dianno. In 2017 he decided to venture out as a solo artist as well, releasing the first album of his trilogy "The Witches of Finnmark". The concluding chapter of this trilogy appeared towards the tail end of 2019 through Norwegian label Apollon Records.

Those who are fond of atmospheric laden progressive rock with something of a folk music foundation will find a lot to enjoy about Anders Buaas' latest production. Well made and well produced, without any technical weak spots and with good to strong quality compositions to boot. That so many of the guitar solo runs had that Gilmourian spirit to them makes me suspect that fans of fellow Norwegian artist Bjorn Riis might also find this album to be well worth a check.