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This is the story of God, Jupiter, Thor, Quetzalcoatl or any religious/mythological idea that centres around an epic, linking what we interpret as real and unreal. The spiritual and mythological idea of a superior consciousness and its different associated aesthetics, as well as the relationship between religion and cult, is the source of artistic inspiration for Savage Cult. The artist speaks of this interest stemming from the combination of “on the one hand, a story that is almost unreal and, on the other, the fanatic application of this story in reality.” The result of this intrigue is, thus, a musical representation of a story, one among many others, that belong to the “Savage Cult”:

Savage refers to something violent, unknown, and alarming, yes, but, also, it represents depth and honor, something immaculate, impenetrable, and powerful. The word Cult implies adoration, and the idea of a clan, of gathering and belonging to a larger group.”

In other words, there is as much beauty as there is fear; a metaphor for life that is depicted, explained, and examined by all mythologies and religions. Finding strength in the unknown and a unity in humanity.

From this concept thus arises his slogan, “Three Gods, One Savage Cult”. These gods exemplify:

The beginning and ending of the cult, both an alpha and omega center.

Structure, substance, and foundation.

Inevitable variability and evolution.

In a way, they not only serve as metaphoric figures for life, but also for the message and story of Savage Cult that is disclosed in one way today and yet another tomorrow. Another descriptive purpose of these three gods is as “representations of all music with a beginning, an end, its substance and core, as well as its inescapable evolution.”

This inspiration translates into the musical procedure that takes the listener on a journey, one that the artist experiences himself and recreates. The overall aesthetic result, achieved by both inspiration and methodical work, is a musical language rich in density and depth with protruding metal influences. The process, just like the name, aims towards storytelling, an experiencing of the music that exceeds impartial listening and involves a person’s creativity and imagination.

“The primary intention is for the listener to have the impression that the work is being played elsewhere, that we are in the location the music attempts to recreate, the setting where the story takes place.”

The artist involves different instruments and sounds to create the intended image in his electronic works. The inclusion of vocals in ‘Upon the Monolith’, for example, is specifically used to represent a ritual. The listener is immersed in the proceedings from a distance, possibly overlooking the center of the ritual, which is how the sound is created and heard (from the idea of this intended location). ‘Face Orion’, based on the myth and the numerous religious references, catapults us into the constellation itself with dense rhythmics and aerial elements.

In other words, the content and sound of the works is thoroughly researched with the listener always in mind. Music becomes an involved full body experience, like an astral projection into another world, into another time.

To experience the artistry of Savage Cult in person, visit the Astropolis Festival in July where he will be performing a live set incorporating original visuals to assist the listeners in their journey.

 

Find out more about Savage Cults:

Tripalium Corp

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