SOURCE – Sapattivuosi is not just a band that plays Black Sabbath songs. You go far beyond that, delivering distinctive tones, a compelling atmosphere, and a true masterclass in interpretation. How did the idea of forming the band and releasing albums featuring Black Sabbath songs under the name “Sapattivuosi” come about?
Janne Halmkrona (Guitars) – We initially had no intention of releasing anything. We were playing a few AC/DC songs as well, but Sabbath suited us better. Our vocalist, Hannu Paloniemi, decided to try translating the lyrics simply to make the material more engaging for himself. As an author and Finnish teacher, his love of language naturally played a role in that decision.
Our producer owned a studio and owed me some studio time. I decided to use it for this project as a kind of souvenir for the four of us.
When we began recording the first song, he suddenly stopped the tape halfway through and said, “Guys, we’re making an album.” We thought he was joking. He wasn’t. Since he was also working for EMI at the time, things moved quickly.
It took nearly a year to complete the material that became our debut album.
SOURCE – The precision and quality of the arrangements on Sapattivuosi’s albums are remarkable. How did you approach the process of selecting the repertoire and producing and releasing these albums?
Janne Halmkrona (Guitars) – We each chose songs that we personally loved and found exciting to play. That was the starting point.
In the studio, our producer wanted the album to feel authentic to the originals. We recorded the basic tracks live to tape, embracing the way albums were made in the past. The goal was to let the sound breathe rather than over-edit everything into lifeless perfection in Pro Tools.
SOURCE – In simple terms, could you walk us through the recording process for the albums Sapattivuosi (2003), Sapattivuosi Vol. 2 (2005), and Ihmisen Merkki (2009)?
Janne Halmkrona (Guitars) – The debut was recorded live to tape with minimal overdubs — mainly doubling guitars, some solos, and layered vocals to achieve that “Ozzy” texture.
Vol. 2 followed a similar approach for the basic tracks but was slightly more produced. On “Kierteen arkkitehti” (Spiral Architect), we included string arrangements conducted and recorded by Illusion Rake, a highly respected Finnish producer.
Initially, we had no plans to record an album featuring Ronnie James Dio-era material. We weren’t sure who could handle the vocals.
Someone suggested Marco Hietala, and we decided to explore the idea. At the time, Marco was still with Nightwish.
I knew their manager personally and contacted him via text message while they were touring — in Brazil! A few hours later, the reply came: “Yes, Marco wants to do it.”
Scheduling, however, was another matter entirely.
For Ihmisen Merkki, we still recorded the basic tracks live, but I tracked most of the solos at home and later reamped them in the studio through my tube amplifiers. Marco recorded his vocals in separate sessions.
This time, we also worked with new translators — two professors from the University of Helsinki, friends of our drummer and devoted Dio fans.
SOURCE – Your musical ability is exceptional. Could you tell us which other musical projects you are currently involved in?
Janne Halmkrona (Guitars) – Marco Hietala continues his solo career, Tarot, and numerous other projects.
Antero Aunesluoma, our bass player, now leads his own band, playing guitar and singing.
Hannu Paloniemi, our first vocalist, lives in Rovaniemi and remains active in his own musical work.
Simo Vehmas, our drummer, lives in Stockholm and has dedicated himself to academic pursuits.
I formed a new band, Kalle Ahola & Puut, which released an album in October 2024.
However, due to hearing-related issues, I have stepped away from performing for now.
SOURCE – The music industry has changed significantly with the rise of streaming platforms. How were the copyright negotiations handled when recording and releasing official albums of Black Sabbath material?
Janne Halmkrona (Guitars) – The record label handled the copyright negotiations. Being signed to EMI for our first album made the process relatively straightforward.
We were required to translate our Finnish lyrics back into English so the rights holders could understand the content. Our versions were never literal translations. Hannu wrote lyrics inspired by the originals rather than direct adaptations.
For example, “Sweet Leaf” became “Kännin piikkiin” — roughly “Blame It on Being Drunk.” Given Finland’s complex relationship with alcohol, the reinterpretation felt honest and closer to our own reality.
SOURCE – Finland is widely recognized for its strong musical tradition, particularly in original compositions. How has your work been received in Finland?
Janne Halmkrona (Guitars) – The reception in Finland was surprisingly positive. I had personally feared that Black Sabbath would be considered sacred and untouchable — I might have felt the same had someone else attempted this.
However, audiences responded warmly, especially at live shows. Even the most devoted Sabbath fans attended with skepticism but left acknowledging that we approached the material with genuine admiration and respect. It was always meant as a heartfelt tribute.
SOURCE – Are there any plans to release a new Sapattivuosi album?
Janne Halmkrona (Guitars) – Let me say this publicly for the first time: a fourth album has been finished for years!
Marco would still like to refine certain vocal sections, but completing that process has taken a bit longer than expected. Additionally, we encountered some rights issues with a few selected songs — something we hadn’t faced before.
Whether the album will eventually be released remains uncertain. We hope so. There are some truly remarkable versions on it, including a few unexpected song choices.
SOURCE – Brazilian fans admire many Finnish bands. What is your final message for them?
Janne Halmkrona (Guitars) – If Brazil were closer to Finland, we would have played there already. We love Brazil!
Photo band credit: Timo Isoaho
Photo credit (live band): Mika Jussila
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