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Tarot is a Heavy Metal band from Finland. Here is their story.
Spell of Iron (1986), Follow Me Into Madness (1988)
Tarot was originally formed by the Hietala brothers in the early 80’s. Back then the band’s name was called “Purgatory”. As Purgatory reached the point when they got the record deal, the label wanted Purgatory to change their name. Since then the band has been known as Tarot. Also the line-up settled in to the form of Marco Hietala (bass/vocals), Zachary Hietala (guitars), Mako H (guitars) and Pecu Cinnari (drums).
Wings of Darknes s single saw the daylight in 1986 and during that same year they released their first full length album which was titled as Spell of Iron . Next year they released again a single and it was called Rose on the Grave .
To Live Forever (1993), To Live Again (1994), Stigmata (1995)
After the second album there was a brake in Tarot-land. Durind this “vacation” the line-up changed a little bit and a keyboardist was added to the band as Janne Tolsa joined Tarot, who replaced the second guitarist Mako H. And after five years of more and less silence the third album, To Live Forever , was finished in 1993. Tarot got good publicity in Japan so their first live album was released in 1994 only in Japan. The gig was recorded at Tavastia Club, Helsinki. Fortunately some of the songs from the live album were released during the next year on a limited edition bonus cd with the next studio album, Stigmata .
For The Glory Of Nothing (1998), Shining Black Compilation (1998: Japanese Edition)
For The Glory of Nothing came out in 1998. Also during the same year, Shining Black , a Tarot compilation album came out in Japan. After this they returned into silence. Luckily the silent wasn’t complete, they did gigs here and there. But when Tarot wasn’t active, Marco was. He played in Conquest and Sinergy . He also did some gigs with the other Conquest guys as a cover group Metal Gods . Marco also joined Nightwish in 2002 and along that, some more attention came also towards Tarot. Janne Tolsa played the keyboards for Virtuocity ‘s Secret Visions album as Marco sang a few songs for it. At the end of summer 2002 Tarot did a special 80’s gig in Kuopio, they played material only from the first two albums. And to complete the 80’s the guys looked like they were still stuck in the 80’s!
Suffer Our Pleasures (2003), Shining Black Compilation (2003: 2CD)
During the year 2003 the Shining Black Compilation was released again in the rest of the world. Tarot signed a new record deal with Spinefarm Records and the new studio album Suffer Our Pleasures was released.
The Suffer album did quite well here in Finland, but somehow the record company, at that time, managed to blow it up in the foreign countries. The album was real hard to come by in foreign record stores and the advertising was done poorly. This was naturally a big disappointment for the band as once again the album included some of the greatest material the band had ever written. Despite the negative aspects of the album’s marketing, Suffer Our Pleasures opened new doors and gave the band more underground status than ever. Thanks to the active touring.
Crows Fly Black (2006), Undead Indeed Live (2008)
In between 2003 and 2006 Marco kept busy with his another band Nightwish by recording and touring around the world. Janne did the album with Eternal Tears of Sorrow and a lot of gigs with an industrial metal band called Turmion Kätilöt . In 2006 it was time for Tarot to get serious again.
Early spring 2006 the late record company Bluelight Records released a Re-Masters collection, which included all the first six albums with a huge collection of bonus material, un-released demos, live and special versions of the songs and some covers. Some of the albums were also remixed.
The fans had been expected the re-releases for years and the collection succeed so well that in May 2006 when Tarot released the new single You , it made number one on the Finnish charts for the first time in the history of Tarot. At the same time the band formalized their backing vocalist Tommi “Tuple” Salmela as a true band member, after being with the band more than ten years. Now Tarot was able to perform more widen vocal performances than ever, using two lead singers as a band called Deep Purple did in the golden era with Coverdale/Hughes.
Tarot changed the record label again and now they work in Finland with KingFoo Entertaiment. Kingfoo Entertainment is at the same their booking and management agency. In Europe Tarot is working with Nuclear Blast and the hopes are high again for the future.
Summer 2006 was really busy for the band as the band toured various clubs and festivals throughout the summer. In the mean time Tarot also composed, demoed and recorded new material and finally released the darkest and gloomiest Tarot album written to date – Crows Fly Black .
After the release of Crows Fly Black Tarot toured for a year and a half altogether doing shows outside of Finland also. “Crows” was released by Nuclear Blast for the wider european audiences, which made it possible for the band to do some more touring in the central Europe.
The well used time sharpened the band into a shape which you can witness on the live DVD Undead Indeed . DVD was shot in their hometown Kuopio, Club Rupla in 17.8.2007. The DVD was then released on 11.6.2008, and for awhile it stayed as #1 in finnish DVD charts. Undead Indeed covers the whole show of the evening and captures really well the atmosphere of these hairy dudes from the county of Savo, Finland doing a sweaty rock´n´roll show.
By the release of the DVD Marco was already touring with Nightwish , and Tarot did just a few selected shows during 2008-2009. It was clear however that as soon as the NW tour would wind down, Tarot would get active again.
Gravity Of Light (2010)
During 2008-2009 Janne, Marco and Zac had written quite a lot of new stuff already at their spare time. It only took a few demosessions for the guys to come up with a bunch of songs, which you will be able to hear on their eighth studioalbum titled Gravity Of Light .
Most of the demo work for this album was done in August and September 2009, and the actual recordings for the album started immediately after that in November 2009. Mixing has been done by Janne and Mikko Tegelman and the mastering by Mika Jussila at Finnvox studios in January and February 2010. The album is released by King Foo entertainment, which acts also as the booking agency and management for Tarot.
The album feels like meeting an old friend. Some things are the same, but your friend has gained weight. He shows new scars, and tattoos. The beard is longer and he projects a meaner and faster temper. At the same time there´s still a big heart at the center. When you hear Gravity Of Light you will believe.
The Spell Of Iron MMXI / 2011
- Artist: Tarot
- Published: 2011
- Record Label: King Foo Entertainment
- Midwinter Nights
- Dancing On The Wire
- Back In The Fire
- Love’s Not Made for My Kind
- Never Forever
- The Spell of Iron
- De Mortui Nil Nisi Bene
- Wings of Darkness
- Things That Crawl At Night
- I Walk Forever (Bonus Track – Live With Choir @ Ruisrock 2010)
The Spell of Iron MMXI is the ninth album by the Finnish band Tarot . The band’s debut album Spell of Iron was originally recorded in 1986 and met reasonable critical acclaim. For the band’s 25th anniversary, the album was re-recorded, bringing the sound, production and lyrics up to date and out of its more glam/hair metal stylistic origins. Spell of Iron MMXI was then released on April 11th 2011.
Gravity Of Light / 2010
- Published: 2010
- Satan Is Dead
- Pilot Of All Dreams
- Magic And Technology
- Calling Down The Rain
- Caught In The Deadlights
- I Walk Forever
- Sleep In The Dark
- End of Everything
Gravity Of Light is the eighth studio album by the Finnish heavy metal band, Tarot . It was released in Finland on March 10, 2010, in Europe on April 23, 2010 and in the US on June 8, 2010.
Crows Fly Black / 2006
- Published: 2006
- Crows Fly Black
- Ashes To The Star
- Messenger OfGods
- Before The Skies Come Down
- Bleeding Dust
Crows Fly Black is the seventh album by Finnish heavy metal band Tarot , released on 27 October 2006. This album is accompanied by the single “You”, and the music video “Ashes to the Stars”. This is the first album to officially acknowledge Tommi ‘Tupple’ Salmela as a member of the band, referred to as an ‘old-new’ member; until then, Tommi’s role was limited to sampling and backing vocals, while in this album, Tommi takes role of fully fledged vocalist
Suffer Our Pleasures / 2003
- Published: 2003
- Record Label: Spinefarm Records
- Pyre Of Gods
- Rider Of The Last Day
- Follow the Blind
- Undead Son
- Of Time and Dust
- From the Void
- From the Shadows
Suffer Our Pleasures is the sixth album by Finnish metal band Tarot , released in 2003 by Spinefarm Records.
For The Glory Of Nothing / 1998
- Published: 1998
- Record Label: Blastic Heaven
- I’m Here
- Shining Black
- Beyond Troy
- Dark Star Burning
- The Scourger
- Ghosts Of Me
- The Punishment
For The Glory Of Nothing is the fifth album by Finnish heavy metal band Tarot , released in 1998. The album includes a guest appearance from Timo Kotipelto of Stratovarius, who contributes backing vocals to the song “Warhead”.
Stigmata / 1995
- Published: 1995
- Record Label: Bluelight Records
- Angels of Pain
- Shades in Glass
- State Of Grace
- Race The Light
- Expected To Heal
Stigmata is the fourth album by Finnish heavy metal band Tarot , released in 1995 by Bluelight Records. A remastered edition with bonus tracks was released in 2006 by Blastic Heaven.
BONUS SONGS ON REMASTERED EDITION
- Turn Me On (Accept cover)
- Stigmata (I Feel for You) (Acoustic)
- Live Hard Die Hard (Acoustic)
To Live Forever / 1993
- Published: 1993
- Do You Wanna Live Forever
- The Colour of Your Blood
- The Invisible Hand
- Live Hard Die Hard
- Sunken Graves
- Born Into The Flame
- In My Blood
- Tears of Steel
- My Enslaver
- Children Of The Grave
- Guardian Angel
To Live Forever is the third album by Finnish metal band Tarot , released in 1993 by Bluelight Records. It is also the first album to feature the band’s new keyboardist, Janne Tolsa, who has replaced former guitarist Mako H. The album also includes a Black Sabbath cover Children of the Grave.
Follow Me Into Madness / 1988
- Published: 1988
- Descendants of Power
- Rose on the Grave
- Lady Deceiver
- Follow Me Into Madness
- Blood Runs Cold/Happy End
- I Don’t Care Anymore
- Breathing Fire
- I Spit Venom
- Shadow in My Heart
Follow Me Into Madness is the second album by Finnish metal band Tarot , released in 1988 by Bluelight Records. A remastered version was released in 2006 by Spinefarm Records. Rose On The Grave was released as a single in 1988. This is also the last album with Mako H. He is replaced by Janne Tolsa, the current keyboard player.
Spell of Iron / 1986
- Published: 1986
- Record Label: Flamingo Music
- Dancing on the Wire
- Back in the Fire
- Spell of Iron
- Things That Crawl at Nigh
Spell of Iron is the first album by Finnish metal band Tarot , released in 1986 by Flamingo Music. Spell of Iron has been released on CD in 1994 by Bluelight Records, and a remastered version was released in 2006 by Spinefarm Records.
Album includes the band’s most popular song, Wings of Darkness. Tarot’s website is named after the song.
Interview with Tommi Salmela (Tarot / Lazy Bonez / Raskasta Joulua)
We had the time to have a small interview with Tommi Salmela from Tarot, Raskasta Joulua and Lazy Bonez about several topics. Will we ever get the chance to see
Timothy Stoddard tenor Ellen Fast piano
What do you get when you tailor both music and lyrics to a tenor of brilliant clarity? A profound, cerebral, sensuous and at times even mystical experience, as demonstrated by vocalist Timothy Stoddard on his riveting new album TAROT. Born out of a year-long, close-knit collaboration between Stoddard, pianist Ellen Fast, and a diverse assortment of composers and librettists, TAROT proves the Aristotelian assertion that the whole is even more than the sum of its parts.
These scintillating new vocal compositions all touch upon the vast mysteries of the great unknown wherever it overlaps with the human condition – be it in love, in death or in the occult. TAROT conjures an enchanting, dizzying, dreamlike universe – and Stoddard’s crystal-clear tenor is the effervescent guide.
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Track Listing & Credits
Recorded August 16-18, 2022 at Audible Images Recording Studio in Pittsburgh PA Producer Michael Markowski Engineer Jay Dudt Editing & Mixing Brian Losch
Mortally Wounded Texts by Federico García Lorca , tr. Michael Markowski
Romance Suite Texts by Alaina Ferris, Jenny Xie, Desiree C. Bailey
A Fire Within Texts by Peter Mason, Amanda Hollander, Bea Goodwin
Tarot Texts by Amanda Hollander
Acknowledgments This album would not have been possible without the support and generosity of: The Heinz Endowments Dr. Jedd Wolchok and Karen Popkin Ronald Schaefer The Lloyd F. Stamy Jr. Charitable Fund Carole King and Chip Burke The Pittsburgh Concert Society Brian Worsdale Dr. Paul Doerksen James Adler The American Opera Project
Executive Producer Bob Lord
A&R Director Brandon MacNeil A&R Chris Robinson
VP of Production Jan Košulič Audio Director Lucas Paquette
VP, Design & Marketing Brett Picknell Art Director Ryan Harrison Design Edward A. Fleming Publicity Brett Iannucci
Timothy Stoddard has been hailed by Opera News as “having a clear-voiced tenor.” A native of Idaho, he is an award-winning vocal musician and actor who focuses his time and interests in new music, works for the stage, and oratorio. His repertoire spans that of early music, chamber music, works of Broadway, traditional opera, and world premiere pieces, and he performs in the United States, as well as Europe and Asia.
Michael Markowski is fully qualified to watch movies and cartoons. In 2010, he graduated with a degree in ‘Film Practices’ from Arizona State University. While Markowski never studied music in college, he has studied privately with his mentors, Jon Gomez, Dr. Karl Schindler, and Michael Shapiro. He has received commissions from a number of organizations including CBDNA, The Consortium for the Advancement of Wind Band Literature, The Lesbian and Gay Band Association, the Durham Medical Orchestra, the Florida Music Educator’s Association, and has received performances from the United States Air Force bands, The Phoenix Symphony, the Arizona Musicfest Symphony Orchestra, and from hundreds of bands around the world.
Alaina Ferris is an interdisciplinary composer, poet, and performer who specializes in choral works, opera, and contemporary theater. As an active pianist and Celtic harpist, her music is inspired by a love of Renaissance chorales and her former work as a music therapist. She is one half of the indie-folk duo, Physical Kids, alongside Matt Schlatter.
She earned her B.A. in Music and Creative Writing from the University of Denver and her M.F.A. in Poetry from New York University, and now lives in Brooklyn.
Michael Lanci is a composer and performer currently residing in Saratoga Springs, New York. His music is viscerally engaging and stylistically diverse, drawing from a wide range of influences. Michael’s short comedic chamber opera Admissions, written in collaboration with librettist Kim Davies as part of the American Opera Initiative program with the Washington National Opera, was premiered in January 2020 at the Kennedy Center. He was a finalist for the 2018-19, Beth Morrison Projects Next Generation competition that included the commissioning and premiere of his first opera Crude Capital with libretto by Ajax Phillips. Michael recently concluded a fellowship with the Composers and Voice program hosted by The American Opera Projects based in Brooklyn, NY. Michael is also working on a variety of projects within the world of Folk, Folk Rock and Indie Rock.
Mary Prescott is a Thai-American interdisciplinary artist, composer and pianist who explores the foundations and facets of identity and social conditions through experiential performance. The Washington Post describes her work as “masterfully envisioned… a bright light cast forward.”
Prescott is an awardee of the McKnight Composer Fellowship, NPN Creation and Development Fund, New Music USA, Puffin Foundation, Opera America, and several regional arts councils. Her commissioners include American Composers Forum, Roulette, Living Arts, Public Functionary, White Snake Projects, and Metropolis Ensemble. She has held residencies with Roulette, Lanesboro Arts, Avaloch Farm, Hudson Hall, The League of Independent Theater, and Arts Letters and Numbers.
Pianist Ellen Fast is an active contributor to Pittsburgh’s music scene. She founded the Jade Piano Trio, which gave its debut performance in October 2018 as part of the Music in a Great Space series at Shadyside Presbyterian Church. She collaborates often with area vocalists and instrumentalists and has appeared with the Pittsburgh Concert Chorale, the Incidental Chamber Players, and OvreArts. She plays regularly for the Mt. Lebanon High School choirs and has served as rehearsal accompanist for Resonance Works | Pittsburgh.
Ellen received a master’s degree in collaborative piano performance from the University of Wisconsin–Madison, where she was a recipient of several scholarships. Her undergraduate degree is from Goshen College in northern Indiana, where she was a winner of the school’s annual Concerto-Aria Competition.
Brian Losch is a Grammy Award-winning recording engineer based in New York City. He has production credits which span multiple genres and include artists such as Yo-Yo Ma, Gil Shaham, Anne-Sophie Mutter, Dawn Upshaw, and Renée Fleming. As an engineer, he is most known for recording orchestras, chamber, and jazz ensembles, however, he also provides recording and music mixing services for music, television, and film projects.
Brian has received Grammy Awards for his work on Winter Morning Walks (Best Engineered Album, Classical / Best Vocal Solo, Classical). His production credits include multiple Grammy Awardwinning albums: Boston Symphony Orchestra’s Shostakovich Under Stalin’s Shadow – Symphonies Nos. 5, 8, & 9 (Best Orchestral Performance), The Goat Rodeo Sessions (Best Folk Album and Best Engineered Album, Non Classical), and Steven Mackey’s Lonely Motel (Best Small Ensemble Performance).
Federico García Lorca
Born near Granada in Fuente Vaqueros, Spain, prominent 20th-century Spanish poet and dramatist Federico García Lorca studied law at at the University of Granada before relocating to Madrid in 1919 to focus on his writing. In Madrid he joined a group of artists that included Salvador Dali and Luis Buñuel. The group came to be known as the “Generation of ’27.’” Surrealism would greatly influence his art. Lorca published numerous volumes of poetry beginning with Impresiones y paisajes (1918). His lyrical work often incorporates elements of Spanish folklore, Andalusian flamenco and Gypsy culture, and cante jondos, or deep songs, while exploring themes of romantic love and tragedy. He cofounded La Barraca, a traveling theater company that performed both Spanish classics and Lorca’s original plays. Despite the threat of a growing fascist movement in his country, Lorca refused to hide his political views, or his homosexuality, while continuing his ascent as a writer. In August 1936, at the onset of the Spanish Civil War, Lorca was arrested and executed by a firing squad a few days later.
Jenny Xie is the author of EYE LEVEL (Graywolf Press, 2018), a finalist for the National Book Award and the PEN Open Book Award, and the recipient of the Walt Whitman Award of the Academy of American Poets and the Holmes National Poetry Prize from Princeton University. Her chapbook, NOWHERE TO ARRIVE (Northwestern University Press, 2017) received the Drinking Gourd Prize. She has been supported by fellowships and grants from Civitella Ranieri Foundation, Bread Loaf Writers’ Conference, Kundiman, and New York Foundation for the Arts. In 2020, she was awarded the Vilcek Prize in Creative Promise. She has taught at Princeton and NYU, and is currently on faculty at Bard College.
Desiree C. Bailey
Desiree C. Bailey is a poet and writer from Trinidad and Tobago, and New York. She is the author of the poetry collection What Noise Against the Cane (Yale University Press, 2021), which won the Yale Series of Younger Poets Prize. The collection was a finalist for the National Book Award for Poetry, the Kate Tufts Discovery Award and the T.S. Eliot Prize, and was longlisted for both the Bocas Prize for Caribbean Literature and the International Dylan Thomas Prize. Desiree is also the author of the short fiction chapbook In Dirt or Saltwater (O’clock Press, 2016), and has short fiction and poems published in Best American Poetry, Best New Poets, American Short Fiction, Callaloo, and the Academy of American Poets, among other journals. She is currently the inaugural Writer-inResidence at Clemson University in South Carolina.
Peter Mason is a Bi+ poet and literary event, program, and development specialist from Rochester, NY currently living in the Twin Cities area. He obtained his BA from SUNY Fredonia where he organized the first and second annual Fredonia Poetry Festival, the first Fredonia Poetry Slam, as well as several other literary and community events. He earned his MFA at the University of Arkansas in Fayetteville, where he served as the Development Director and Assistant Poetry Editor of The Arkansas International (2018-2021) and Development Director for the Open Mouth Literary Center (2018-2021). Currently, he is the Assistant Director of the MFA Program in Creative Writing at the University of Minnesota.
Amanda Hollander began her librettist career at the University of California, Los Angeles, where she was working as a university lecturer in the English Department after the filing of her doctorate in Victorian and children’s literature in 2015. Collaborating with composer Nicky Sohn, Hollander wrote a comic opera libretto adapting Hans Christian Andersen’s The Emperor’s New Clothes. Her opera QUAKE with composer Kay Rhie will premiere through UCLA’s Department of Opera in Spring 2023. Hollander furthered her formal training as a Librettist Fellow through the American Opera Project’s Composer and the Voice Program for the 2019-2021 season.
Bea Goodwin is a librettist and operatic stage director creating feminist adaptations, ghost stories and lost historical fictions. Her work has been hailed as “relentlessly clever” and “masterfully spellbinding,” with premieres in traditional theatrical spaces such as BAM, La Mama Experimental Theatre, National Sawdust, as well as site specific immersive experiences at the International Museum of Surgical Science, the Mark Hotel penthouse suite and the historic Montauk Club. Bea is represented by Spotlight Artist Management and is a bi-coastal artist, living in Los Angeles with a warm futon in Bed-Stuy.
Art by María Gonzalez
The relationship between composer and singer can be an intimate one. The musical and life experiences they share seep into the work that is written for the singer and likewise into the singer’s performances. It is that intimate relationship that I hear when I listen to the four song cycles which make up this recording.
The seeds for three of these cycles— Romance Suite , A Fire Within and Tarot — were planted in the Composers & the Voice fellowship program at The American Opera Project. Over the course of a year I watched how composers Alaina Ferris, Michael Lanci and Mary Prescott drew out the specific colors of Stoddard’s voice, and librettist/poet Amanda Hollander embraced the way Stoddard worked with text. Each new piece written for Stoddard showed clear inspiration from what he had brought to each of the other composers’ music. Surprisingly deep collaborative relationships and bonds were forged— relationships that otherwise might take many years to build. The three expansive and wildly varied song cycles that you hear here are the true fruits of the seeds we planted in the Fall of 2019.
Stoddard’s connection to Michael Markowski predates all of these, primarily through familiarity with Michael’s large catalog of music for wind ensemble. The development of Mortally Wounded , Michael’s first work for classical voice, followed a similar process to the Composers & the Voice model, albeit through workshops over iPhone during the pandemic.
The rich, nuanced and probing performances captured in this recording from both Stoddard and pianist Ellen Fast are testaments to this intimate relationship between creators and interpreters. I have been fortunate to watch from the side as these relationships have grown, and am excited that it is shared here with you.
— Steven Osgood, Founder and Artistic Director, Composers & the Voice at The American Opera Project
“Of Your Fair Courtesy” is love from the perspective of active commitment—a form of wedding vows. The title is from Shakespeare’s Pericles : I wrote the wordless music (accompanied by a dancing choir and softly lit lanterns) for a Barnard College student production of the play directed by Charise Greene. The song is sung by Good King Simonides during a soldier’s ball as he watches his daughter Thaisa dance and fall in love with Pericles. Later, I added the text for Timothy to sing.
“Conductor” is love from the angle of loss—a drifting, unmoored longing within a slow melancholy. The text is written by poet Jenny Xie, whom I met at the NYU Creative Writing Program. “Conductor” appeared as a poem in a zuihitsu portfolio for the Asian American Writers’ Workshop, with lines featured in the poem “Umbrian Paces.” While setting the text, I was reading Jenny’s book Eye Level in which the speaker is constantly traveling. I chose to approach the song with a French and pastoral mindset— there is a lot of Debussian inspiration (including nods to Debussy’s “Menuet” from Petite Suite ). Imagine a spurned lover standing in a walnut orchard in Normandy during a lightning storm.
“Struisbaai” (pronounced “strays-bye”) speaks to new love, or potential energy. The title is the name of a town in South Africa and is the song’s landscape. Poet Desiree C. Bailey, whom I met at the Norman Mailer Writers Workshop, wrote these lyrics to conclude the Romance Suite using themes from the first two poems. While composing this, I was reading Desiree’s book of poems What Noise Against the Cane and was inspired by its use of polyphony. This led me to steel pan drumming polyrhythms found in Desiree’s birthplace of Trinidad and Tobago. I wanted the polyrhythms to serve as an extended metaphor for the push and pull in romance. The piece opens with a two-against-three polyrhythm played by the pianist’s two separate hands. This rhythm then merges into the left hand as new rhythms are introduced in the right hand. Like in romance, there are independent voices, but the interplay between the voices creates a third voice in the space between—the relationship. The timing in the song is meant to feel like a fluctuating tide, swaying and swelling both in tempo and dynamics—seductive, magical, epic, and never settling too long in one place.
A Fire Within
“He Once” is poet Peter Mason’s retelling of a story his close friend’s father shared when he was called to fight a fire burning down a local bar in Fredonia NY. The story speaks of the trauma he experienced and how that event has haunted him. The music mirrors the way one’s mind can unpredictably move between the past and present. This idea is represented through a collection of recurring melodic phrases and rhythmic gestures that continuously reappear in different musical atmospheres or mental landscapes.
“Remade” is an attempt to understand the perspective of someone who has been adopted and their consequent questions regarding their biological and familial identity. The music and text explore the desire to know one’s roots while simultaneously questioning the worth of disrupting the world and identity that has been built and grown into. This idea of uncertainty and how one’s conscience can be pulled in multiple mental and emotional directions largely informed the musical structure of “Remade.” The unfolding of this song is never truly complete; it is constantly in flux, shifting between which inner voice to listen to or believe.
“Lucky Strike” is a love song and an homage to a smoking writer as seen through the attentive eyes of the singer. We watch a tale of fantasy unfold: a yearning for that flame, for those lips. This song explores the idea of how certain smells and images can trigger memory and potent emotional reactions. The first musical ideas are reminiscent of the chansons sung in French parlors during the time of Debussy and Fauré. It was an unexpected stylistic choice, but the imagery and subject matter conjured in the poem felt like the perfect fit.
“Red Sun” wrestles with the grandeur of our beloved planet and how we can destroy it. This poem was written as the 2020 Bobcat Fires loomed in the mountains above poet Bea Goodwin’s California home. The feelings of anticipation, anxiety, and fear that gripped Bea as the forest fire inched closer to her doorstep inspired the underlying musical atmosphere. Dread, trepidation, and panic are represented in the pulsating of a single note throughout the entire song. This repeated quarter note becomes the axis in which the song creates, releases, and resolves tension, imitating the idea that some things are inevitable and nature will continue—with or without us.
— Michael Lanci
Inspired by the deck itself, Tarot reflects the way we read into our cards. Brief glimpses of our lives emerge from a reading that can veer between promise and warning. Here, the reader wielding the deck offers dazzling glints of the mysteries in the cards, and what each may portend.
— Amanda Hollander
Tarot is a song deck of brief musical moments that can be shuffled in any order—to offer unique divinations for each iteration and interpretation. The challenge here was to make every “card” distinct from another with a brevity of text and material—songs that would fully steep the listener in a very specific world, but only for an instant before the next would be drawn. Yet, I hoped that each song would also spark familiarity that could help orient the ear through the mystery and magic of the reading. The rich succinctness of Amanda’s text helped that process flow, and by the time I finished composing the set, I was a bit sad and felt I could have easily added another ten or twenty cards to the deck!
— Mary Prescott
Timothy Stoddard, tenor | Wheel of Fortune & The Hermit
Orange performed by Timothy Stoddard and Ellen Fast
*Album cover provided for Editorial use only. ©Navona Records LLC. The Navona Imprint is a registered trademark of PARMA Recordings LLC. The views and opinions expressed in this media are those of the artist and do not necessarily represent or reflect the views and opinions held by PARMA Recordings LLC and its label imprints, subsidiaries, and affiliates.
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Tarot’s Zachary Hietala interview
Written by kevin tanza on july 30, 2020.
Guitarist Sakari “Zachary” Hietala and bassist and vocalist Marko “Marco” Hietala formed the Finnish band Tarot and became pioneers of that country’s Metal scene, arguably releasing the first Metal album in Finland with their 1986 debut, Spells of Iron . They are also brothers and they have been in the scene for almost forty years.
I had the opportunity to interview Zachary and we discussed many different topics regarding the band’s long history, the many different obstacles they had to endure throughout the years and their musical evolution with each album. It was a really interesting conversation and it shows the kind of mindset behind Tarot’s consistently good output throughout the years.
I hope you enjoy it!
First and foremost, thank you for doing this, Zachary. How are things going for you during this pandemic?
This pandemic gave me great opportunity to do a lot of studio work with Kuopio Rock Academy bands more than ever before. As you may know, my day job is youth worker. That’s because all of the youth houses were closed, so I worked almost three months in the studio with amateur bands. We did also six PA training days with entire bands, doing it one band at the time and two days live streaming events as well.
It was also very fun to play Black Sabbath covers with Marko (his brother’s real name) and his son Miro in both evenings. Great shit indeed J
How much of an impact did this situation had your plans for 2020?
Not much really. If everything goes right, we open the youth houses when the schools start at August. And of course, I will continue doing my producer/coach work with Academy bands. Life goes on.
Focusing on the early days, how did you get into music?
Our father, may he rest in peace. He was a good singer and average acoustic player. He sang fairytales to Marko and me when we were kids. There were acoustic guitars around at home, so it was obvious we had to try them.
Who were the guitarists that influenced you to play guitar?
Basic shit: Mr. Iommi, Mr. Blackmore, Mr. DiMeola. Later Mr. Van Halen, Mr. Vai, Mr. Gillis, Mr Lee. The list is endless here (laughs).
What are some of your favorite albums?
Do you mean Tarot albums or in general? If it’s Tarot, it’s Suffer Our Pleasures and MMXI . If it’s somebody else’s albums, there are so many I can’t name on: Master Of Reality and Heaven And Hell by Black Sabbath. Screaming For Vengeance and Painkiller by Judas Priest. Bark At The Moon by Ozzy. Back In Black by AC/DC. Eye Of The Tiger by Survivor. Frontiers by Journey. Black Widow by In This Moment. Rammstein’s latest album. Just to name a few.
You initially founded Tarot as Purgatory with your brother Marco. You two always played music together or was that something that happened as time went on?
Yeah, shit happens! That was a joke (laughs) Seriously, we are from a little village called Tervo, which has about 2000 people, so there were not many teenagers who wanted to play metal. It was natural that we, as brothers, started to play together. We changed drummers all the time, because they were just bad players. When Pecu (Cinnari) joined the band and we moved to Kuopio, which was about 80000 people city in the early 80s, Purgatory started to sound like what Tarot eventually became.
How did you eventually landed your first record deal?
For a lot of years we did tons of warming up gigs for the Finnish top ten bands and they talk about us to record companies in Helsinki.
One day we got the call from the record company and bro (that’s what he calls Marco) went to Helsinki with our demo cassette. Rest is history J
How was the process of recording your first album, 1986’s Spell of Iron ?
Young boys first time in their first ever studio experience. A lots of enthusiasm, no brains.
Everything was new and our producer went home after six hours of work or so, but we wanted to continue and in the next day he asked us how it went. We said that nine out of the ten songs were recorded.
“No fucking way;” he said, but we left those tracks. We were so on of it.
The Finnish Metal scene has certainly changed a lot from the 80s. How it was back in those days?
Everybody laughed to us in the first place. Our clothing style was too much, most of the bands that time went on stage drunken, we didn’t. We rehearsed all the time. Many said “that’s stupid, you’ll lost your feeling” . What the fuck? You’ll get the feeling if you can play great. It really was a different time.
For a lot of people, Spells of Iron is widely regarded as the first Finnish Metal album. What do you think of that album’s legacy in your country’s music scene?
Hopefully we will get the respect what we have earned by the years, but most of the new bands hardly know their own country’s metal scene history, which is a shame.
How was the tour to promote Spells of Iron ?
Most of the gigs we did back then were as warming-up acts for other bands, but the feedback was great and after the second album we didn’t have to do warming or special guest gigs, only for super acts from foreign countries.
I think there was a leap of quality and production in your follow-up album, 1988’s Follow Me into Madness . What do you think were the differences between the making of that album and Spells of Iron ?
We were more mentally prepared for the recording. We weren’t virgins anymore (laughs). We had an engineer who had experience doing recordings with Metal bands and he listened to us, which was most important thing. He also showed us a lot of new tecs in that time and we went for them. We loved that recording.
How do you think your playing style has changed throughout the years?
Hopefully to better (laughs). It’s natural development. To play new things and learn more while still being recognizable by your own style.
You took five years between Follow Me into Madness and To Live Forever . Why was that?
We had made a bad deal with the first record company and it took years to get rid of them. Bad years for us. We couldn’t do a new contract with anybody until the shit paper was finished.
In To Live Forever we notice a notorious change in the sound: Marco starts singing in the tone we’re most familiar with, your guitar style becomes more unique, the instrumental parts are a bit more intricate and you even added a keyboard player. Were these changes by design or it was a natural progression throughout the years?
There were so many reasons for the change that I would need to write a book here (laughs).
Let’s say five years of playing and writing with the keyboard player were enough to make the change. We practiced like mad men in those dark years and that’s why the difference between FMITM and TLF sound is so big. If we had had the opportunity to release To Live Forever in 1988, when we made the first demos, I really don’t know how we would sound today. In that five years gap we could have made two or three albums.
Plus, we’ve been thinking about getting a keyboard player from the beginning and when this guitarist, whose name I don’t want to say, vanished with our money and some equipment, we were ready to move on and take keyboards in the band.
Looking back, what do you think about this album? I personally think it is somewhat underrated in Tarot’s discography.
Underrated? I don’t think so. It’s the only one of our albums that sold more than 40000 in Japan. Our other albums aren’t even close of that.
I just love the album, it includes five years of pain and it’s almost a double album in terms of length. Great example of our music wideness.
What can you tell us about the experience of making 1995’s Stigmata ?
The most difficult album we ever made. First of all, bro got his vocal problems by pneumonia and it took him more than half a year to get in the shape. When I started to record my guitar parts, we had a serious party and I fell through the glass door, broke my right hand by the broken glass and couldn’t properly play in months.
If this wasn’t enough, our mixing engineer had some fight with his wife, they fight at a phone booth and he kicked it, leg went through and it cut his Achilles tendon. So once again we had to cancel our recordings. When everything seemed to be okay to continue, our 16 track recording player went broke and we needed to wait for a spare parts for month or so.
You can feel our suffering in the album. We thought we are cursed or something…
Why do you think classic Metal bands had it somewhat easier in Europe compared to the United States in the 90s? In the United States in 1995, the scene was practically dead, but in Europe there was still interest in what classic Metal bands were offering.
We haven’t break in US, so hard to say. It’s the promised land of country music and rap/hip hop. All kinds of metal are marginal music there, in my opinion. If you sell million copies there, country stars are selling tens of millions. Metallica and Guns ‘n’ Roses are exception, but still.
I personally think that 1998’s For the Glory of Nothing was your best album. How was the process of making that album? Did you do anything differently?
It’s a great album. Surely, we did everything differently.
After the first two albums, we have had almost unlimited time to do the following albums, ‘cause we did them in our mixing engineers’ studio. We wanted to do the FTGON album in the basic way, so we practiced all the songs in the best shape and booked three weeks in the Seawolf studio at Helsinki. So we had this tight schedule and not so much money to be lazy.
We only had few days to get our instruments recorded and we wanted to left at least one week for mixing. That went actually fine and we spend a little bit extra money to mastering, what was done in LA.
That album has my favorite song of yours, Warhead . Do you remember how was that song made?
It’s bro’s song, which has Janne’s (Tolsa, the keyboard player) intro parts, I did only the arrangements with them.
Obviously, you and Marco are the primary writing force of Tarot. How is your process when writing together?
I do most of the aggressive songs and riffs while bro does progressive parts and Janne has the ability to see the whole song, so he knows how everything should sound together. Of course there are exceptions, but this is the basic way.
The three of us sit down and show our ideas, then we start putting bits and pieces together.
Marco and Zachary Hietala.
As someone who has a brother, I’m curious to know how is having your own brother in a band and making music together.
We don’t think that brotherhood much, we are just the boys in the band. We argue as much or as less like other boys. Nothing fancy there.
Actually, I have to say that we were best friends when playing, but in our personal lives we hardly saw each other. We all have our own personal friends to be with and we all wanted to spend our free time differently. There were moments of course, when we went out together to have some booze, but longevity of the band came from the fact we weren’t together all the time.
Why you guys decided to take an hiatus in 1998?
FTGON album didn’t made as great an impact as we hoped and we got frustrated. Bro wanted to do studio job in Helsinki, Janne concentrated on his own studio, I did my youth worker job and so did Tommi. He is a youth worker as well. Pecu was the only one who wanted to be on the road all the time, but we had to think that through.
Marko went to play in Sinergy, so he did only his bass player job there and didn’t have to be the front man. Good therapy for him.
What are your thoughts on 2003’s Suffer Our Pleasures ?
After the few years pause, I had done demos for I Rule , Follow The Blind , with Janne’s parts of Pyre Of Gods and Bro had some demos as well.
It was the right time to activate Tarot again and in my opinion the album was super. It went on Finnish charts in top 5 and the single Undead Son was third.
It was so much fun to play again with the boys and do touring.
As a band, do you a lot of planning when it comes to making an album? Do you go “Well, with this album we’re going to do this or that” before getting into the studio?
Not really. Ok, the expectations are always high, but you have to be realist and pessimist so you don’t get disappointed (laughs).
By the time this album was released, the Finnish scene was starting to thrive. How do you think the perception of people regarding Tarot and its influence has changed throughout the years?
We have very loyalty followers and Marko’s Nightwish career has brought a lot of new follower.
They have been waiting us to activate Tarot and release new material. So it wasn’t a new start, just meeting an old favorite again.
I think Crows Fly Black was yet another solid work of yours. Do you think the band changed after coming back from that hiatus?
I don’t consider that time a hiatus. The first two albums aside, we have had few years gap between all our releases and I think it’s a good thing. Many bands release albums every year and I have to say that their level is not what fans expect. Some bands release albums every year just for the money and it stinks.
If you do albums rarely, you have time to compose and do the arrangements in peace. You can play the demos to your friends and to some unknown people to get feedback. If the feedback is bad, you have time to hone the songs to the form which is the finally the best.
After having many albums in your catalogue, what do you do to stay motivated and creative?
If you are a player of any instrument, you always make something new. You don’t need motivation. It is just the nature of the musician.
There are times, though, when your instrument doesn’t produce anything interesting and then it’s time to take a little break. After a few days or even months, you fingers start to itch and here we go again.
It has been ten years since the release of your last original album, 2010’s Gravity of Light . What do you think of that album?
It was great album, but written a bit differently than others. Marko was very busy with Nightwish by their tours and recording, so I did most of the demos for the album with Janne and some with Tommi. I composed many of the vocal parts as well, without knowing any of the lyrics or melodies, just trying to figure out what these songs should sound like as a whole.
Actually, I did demos for the first six songs on the album and the other four tracks were made with Marko. That splits the album clearly in two different worlds, but in a good way, I think. The Japan edition has an extra song, End Of Everything , which is made by Marko and Janne only. I had nothing to do with that song. Love the song anyway.
While doing research for this album, I read something about Tarot being on hold for the time being. What can you tell us about it?
Being on hold, what? I have no slightest idea of that.
What prompted you guys to rerecord Spells of Iron and release it as The Spell of Iron MMXI ?
Many bands have done their firsts for different reasons. Some succeed, some do not.
Our reason was to see how our songs would sound like with this line up and if we made the album now. With this experience, this kind of composing methods, sound wise, etc. The album is fresh, like a new Tarot album made by us now. Not 20 years ago or so.
That’s why we put all the songs into pieces and started to compose them like we usually do. Me, Janne and Marko sat down and started from the riffs, how we are performing them today, not like in the 80s. All keys arrangements, vocals splits by Marko and Tommi, Pecus’ playing has changed in years, etc. It was like a new album for us.
I understand some puritans hated us for that, but fuck them! They are OUR songs, we can do what we want with them.
After almost forty years in the music business, what is your proudest achievement with Tarot?
I don’t know if the word “proud” is the correct one, but if I say so that way it was being one of the first real heavy metal bands in Finland.
There were some hard rock bands and metal bands if you say so, but in terms of a band that sounds, looks and has the attitude of a real metal band, we were one of the firsts or the first to do so.
I know you must have a ton of great stories, but do you have a particular anecdote that you find funny of your time with Tarot?
There are so many. Sadly most of them are not for under-18 years old (laughs). Ok, here’s the one. Somehow during the 90s we liked to travel naked in our tour bus during summer times. Don’t ask me why. Booze maybe?
When we needed to stop the bus for pee, we took some long willowherbs, went to road shoulder and tried to hitchhike to cars passing us. At the same time, some of us were whipped by willowherbs us who tried to hitchhike. It was so great to see the drivers and passengers’ faces when they passed us! (laughs)
Don’t tell your mama these stories…
Thank you for taking the time to do this, Zachary, and for answering all these questions. I appreciate it. Any last words for our readers? Where can we follow you on social media to stay updated?
From our personal Facebook and Instagram sites as well as Tarot ones. There are many Tarot fan sites and our old school official Tarot website .
Feet in the mud, fists in the sky!
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From the 80's to the new milleniumTarot was originally formed by the Hietala brothers in the early 80's. Back then the band's name was called "Purgatory" . As Purgatory reached the point when they got the record deal, the label wanted Purgatory to change their name. Since then the band has been known as Taro t . Also, the line-up settled into the form of Marco Hietala (bass/vocals), Zachary Hietala (guitars), Mako H (guitars), and Pecu Cinnari (drums). Wings of Darkness single saw the daylight in 1986 and during that same year they released their first full-length album which was titled " Spell of Iron " . Next year they released again a single and it was called " Rose on the Grave " .
In 1988 the second Tarot album came out, this time the title was " Follow Me Into Madness " . In the eighties, everything was "big" so Tarot played with enormous equipment. Even the roadies of Metallica were amazed by the Marshall piles of Tarot. After the second album, there was a break in Tarot-land. During this "vacation" the line-up changed a little bit and a keyboardist was added to the band as Janne Tolsa joined Tarot, who replaced the second guitarist Mako H . And after five years of more and less silence the third album, To Live Forever , was finished in 1993. Tarot got good publicity in Japan so their first live album was released in 1994 only in Japan. The gig was recorded at Tavastia Club, Helsinki. Fortunately, some of the songs from the live album were released during the next year on a limited edition bonus cd with the next studio album, Stigmata . Again there was a little break in the timeline and " For The Glory of Nothing " came out in 1998. Also during the same year, Shining Black , a Tarot compilation album came out in Japan. After this, they returned to silence.
Luckily the silence wasn't complete, they did gigs here and there. But when Tarot wasn't active, Marco was. He played in Conquest and Sinergy. He also did some gigs with the other Conquest guys as a cover group "Metal Gods" . Marco also joined Nightwish in 2002 and along with that, some more attention came also towards Tarot. Janne Tolsa played the keyboards for Virtuocity's Secret Visions album as Marco sang a few songs for it. At the end of summer 2002 Tarot did a special 80's gig in Kuopio, they played material only from the first two albums. And to complete the 80's the guys looked like they were still stuck in the 80's! During the year 2003 the Shining Black compilation was released again in the rest of the world. Tarot signed a new record deal with Spinefarm Records and the new studio album Suffer Our Pleasures was released.
The Suffer album did quite well here in Finland, but somehow the record company, at that time, managed to blow it up in the foreign countries. The album was really hard to come by in foreign record stores and the advertising was done poorly. This was naturally a big disappointment for the band as once again the album included some of the greatest material the band had ever written. Despite the negative aspects of the album's marketing, Suffer Our Pleasures opened new doors and gave the band more underground status than ever. Thanks for the active touring. 2003 - 2006. Three years have now passed since the release of the Suffer Our Pleasures album . A lot has happened between 2003 and 2006, some great and some not-so-great moments. During these years Marco kept busy with his other band Nightwish by recording and touring around the world.
Janne did the album with Eternal Tears of Sorrow and a lot of gigs with an industrial metal band called Turmion Kätilöt . In 2006 it was time for Tarot to get serious again. Early spring 2006 the late record company Bluelight Records released a Re-Masters collection, which included all the first six albums with a huge collection of bonus material, unreleased demos, live and special versions of the songs, and some covers. Some of the albums were also remixed. The fans had been expected the re-releases for years and the collection succeed so well that in May 2006 when Tarot released the new single "You", it made number one on the Finnish charts for the first time in the history of Tarot.In the same time the band formalized their backing vocalist Tommi "Tuple" Salmela as a true band member, after being with the band for more than ten years. Now Tarot is able to perform more wide vocal performances than ever, using two lead singers as a band called Deep Purple did in the golden era with Coverdale/Hughes. Tarot changed the record label again and now they work in Finland with KingFoo Entertainment. Kingfoo Entertainment is at the same their booking and management agency. In Europe Tarot is working with Nuclear Blast and the hopes are high again for the future. Summer 2006 was been really busy for the band as the band toured various clubs and festivals throughout the summer. In the meantime Tarot also composed, demoed and recorded new material. The new album is called Crows Fly Black - the darkest and gloomiest Tarot album written to date. Only the crows fly black...
- PAIN: TAROT will join European tour! Posted: July 01, 2011 Categories: News Tags: Tarot Pain Finnish metallers TAROT (featuring Marco Hietala of NIGHTWISH fame) will join the European tour of the Swedish industrial metallers PAIN, led by iconic producer/musician ... Read more »
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