With deep roots in 80s and 90s metal, Savagegroup transforms nostalgia into an emotionally charged blend of melodic riffs, orchestral arrangements, and powerful storytelling.
1.
Savagegroup describes its music as “100% pure 90s-style melodic metal—made for
the ears, not for touring.” What makes this era of metal so special to you, and
how do you preserve its spirit while simultaneously injecting your own identity
into the genre?
Well, the
melodies from back then had the power to transport you—just by the way they
felt, even without lyrics. As the saying goes, we’ve stayed true to ourselves
regarding the metal era of the 80s and 90s. At the same time, we try to capture
the “here and now” in both our music and lyrics, incorporating modern
influences.
2. You
are three friends who have known each other your whole lives and share a
passion for metal. How has your friendship shaped the musical direction of
Savagegroup, and what does each of you contribute to the creative process?
In terms of
our sonic landscape, we’re actually quite different—both in our preferred
sounds and our approaches to song construction—but that’s exactly what makes it
interesting. The creative process is life itself—specifically, the experiences
that each of us has lived through in our own way. We try to process, or rather
express, these “experiences” through our music and vocals.
3. Your
project began in 2018 with “Wall of Fear,” when Thomas stepped in as vocalist
because you couldn’t find a suitable frontman. Looking back, how has this
unexpected decision influenced the band’s identity—and have you managed to
convince Thomas by now that he actually *is* a singer?
At the beginning, the laughter surrounding Tom’s singing was deafening [laughs]! Even Tom himself was surprised—and a bit startled—to hear his own voice for the first time. That initial shyness faded as the recording sessions progressed, and Tom simply gained more confidence. [Laughs] But no, Tom still insists that he isn’t a singer—period! It’s also worth mentioning that our Tom actually feels flattered when someone tells him, "Hey, your voice is great." At heart, Tom is just a drummer.
4.
Savagegroup operates intentionally as a studio project rather than a touring
band. Was this your vision from the start, or did you gradually realize that
working exclusively in the studio offers more creative freedom?
To answer
that honestly and seriously: as an "unknown" band, you often end up
paying to perform. When we were younger, the money didn't matter—we just wanted
to be on stage. But since the three of us are approaching 60, it no longer
makes sense to go on a major tour that we’d ultimately have to pay for
ourselves. And yes, in the studio, you have the time and peace to produce
something truly awesome.
5. Your
music is characterized by complex arrangements, powerful guitars, a massive
rhythm section, orchestral elements, and operatic choirs. How do you manage to
harmonize all these layers without losing the raw energy and melodic core of
classic metal?
Since none
of us studied music, our arrangements come purely from gut feeling. "How
do you manage to harmonize all these layers?" [laughs] Honestly, we ask
ourselves that too, hehe! Tom usually ends up with around 60 tracks in Cubase
for just a single song, and somehow he manages to keep everything
present—ensuring that nothing is too loud or too quiet in the mix. It’s just a
phenomenon unique to Tom.
6. Your
current single, "An Angel Had to Go Home," tells a deeply emotional
story—conveyed through a child’s voice, dramatic pauses, and a powerful metal
arrangement. What inspired this concept, and how did you arrive at the decision
to tell the story from such an innocent yet heartbreaking perspective?
The story
behind "An Angel Had to Go Home" traces back to the 80s TV series
*ALF*—specifically, the famous two-part Christmas episode featuring a
terminally ill little girl named Tiffany. The idea came from Tom, who also
wrote the song. We believe that metal is actually a great medium for conveying
sad stories, as it’s capable of expressing deep emotions very effectively.
7. The
song evolves from a haunting opening into an explosive outburst—driven by
double-bass drumming—before transitioning into a melodic, emotionally charged
chorus. What role do contrasts play in your songwriting? Do you plan these
dramatic shifts from the outset, or do they emerge during the production
process?
We start
with a basic framework, then assemble the song like pieces of a puzzle,
intentionally layering in emotional elements at specific points to underscore
the overall theme. Ultimately, it’s more of a decision based on gut feeling.
8. One
of the song’s most striking features is the recurring child’s voice, which
serves as a connecting thread between the various sections. How did you go
about integrating this element?
Since the
lyrics deal with the death of a little girl, we didn’t want her to be forgotten
right after the beginning. We made a conscious decision to keep the child’s
voice as a major element throughout the song, helping to make this sad story
feel more authentic and believable.
9. The
outro takes an unexpected turn: the heavy guitars give way to a classical
Spanish guitar and sweeping choral arrangements. What inspired you to choose
such a delicate ending—and why was it important to let the song fade out with
beauty and vulnerability, rather than concluding with another metal-style
climax?
Well, given
that the story is so tragic, we wanted to create a kind of "happy
ending"—though, of course, it isn’t a true happy ending, since she has
passed away. The idea behind the conclusion is that she is in a good place now,
and that we no longer need to worry about her.
10.
Daniel and Tommy provide the massive foundation of guitar and bass, while also
recording the epic backing vocals; Thomas handles the drums, keyboards, and
lead vocals. How do you divide these tasks in the studio, and what challenges
arise when three musicians take on so many different roles?
We actually
harmonize quite well together. There’s no ego—no one insisting, "I have to
be the one to record this part." Sometimes, if Daniel or Tommy are busy
with their day jobs, Tom will step in and play the guitar or bass. As for the
mixing, that’s Tom’s domain—he’s the one who spends hours agonizing over some
60 individual tracks to ensure the song sounds just right! [laughs] Whenever we
have the time, the three of us sit down in front of the monitor and mix it
together.
11. Your
upcoming album, "Fallen Angel," is slated for 2027—the result of
years of meticulous refinement of your sound. What can listeners expect from
this album? Will it inhabit the same theatrical and emotional terrain as
"An Angel Had to Go Home," or will it reveal new facets of
Savagegroup?
Yes, it
will be primarily an orchestral metal album, featuring bombastic choirs, a wall
of melodic metal guitars, soaring vocals, and double-bass drumming. The lyrics
will venture into the realm of fantasy, but also into much darker territory.
12. You
have chosen to pursue your musical vision entirely on your own terms—without
the pressure to tour or the need to ensure every song is suited for a live
stage. After decades of creating and listening to metal music, what keeps your
passion alive? And what should listeners discover when they immerse themselves
in the music of Savagegroup?
Well, metal
never ages; we grew up with pure metal in the 80s and 90s—that kind of
influence leaves a profound mark and fosters a lifelong love for this music. As
for what listeners should discover—that’s a good question. Through our music,
we aim to tap into various emotions that people might be grappling with in
today’s world. Our lyrics are meant to convey—depending on the song—that you
aren’t alone; many others go through similar things in life. That is
essentially our primary goal. And since we’re approaching our sixties, we’ve
gathered a wealth of life experience—not all of it positive, by any means.
Post a Comment