There are albums that remind us, from their very first moments, why we remain so deeply attached to old-school Death Metal. ‘Malignant Reveries’, the latest offering from the Dutch band Savage, is certainly one of them. After listening to it several times, my impression is quite clear: this is an absolutely raw and brutal record, deeply rooted in the most primitive foundations of the genre.
It is almost impossible not to recognize the influence of those legendary demos that shaped the underground during the late 1980s. The shadow of Nihilist and the early Swedish Death Metal scene is strongly present, alongside elements reminiscent of Autopsy and Master, particularly in those slow, heavy, and repetitive rhythms that create such a sickening atmosphere. However, I believe it would be unfair to reduce Savage to a mere reproduction of these bands. There is a genuine compositional effort here, together with a clear intention to develop a musical identity of their own, even if I feel that this journey still has some distance to go.
One of the aspects I enjoyed the most was the production. The sound preserves the rawness we have always appreciated in those early recordings, while introducing certain nuances that allow some instrumental details to emerge with greater clarity. We are certainly not dealing with an excessively polished or artificial production. Quite the opposite. There is an interesting balance between the filthy character of primitive Death Metal and a degree of definition that strengthens the overall result.
As for the compositions, I would not describe ‘Malignant Reveries’ as an exceptionally dynamic album, but that is not necessarily a weakness. There is an almost punk-like attitude in certain passages, while the slower and heavier sections deliver a considerable amount of brutality. This combination of speed, repetition, and dense riffing keeps alive a formula that, when properly executed, remains tremendously effective.
Another aspect worth recognizing is the work of Michel Jonker, who handles the instruments and vocals throughout the album. I have always found it remarkable when a musician manages to create a work of this nature almost entirely on his own. The album also features an excellent cover artwork, designed by Jonker himself, whose aggressive visual character perfectly reflects the music contained within.
The inclusion of a cover of Grotesque’s ‘Spawn of Azathoth’ is also a clear statement about the musical roots of this project. It serves as a tribute to a tradition that remains essential to understanding Death Metal, even today.
Although Savage comes from the Netherlands rather than Sweden, their music demonstrates that the spirit of that early Scandinavian scene is still very much alive. ‘Malignant Reveries’ does not attempt to radically transform the genre, but it offers a convincing and personal interpretation of its most essential elements.
I absolutely loved this album. I believe Michel Jonker is following a very interesting path, and ‘Malignant Reveries’ represents an important step in understanding where Savage is heading. This is an album that deserves repeated listens, allowing us to discover its details and closely follow the musical evolution of a band that has already built a solid track record in the underground.
Savage is a brutal band in many respects, and without a doubt, it deserves a place in our record collections. I encourage everyone to explore their discography, understand the roots that feed their music, and, above all, discover the identity they are gradually shaping for themselves.
Because beyond the obvious influences, there is something here that truly deserves our attention: raw, sickening music, deeply rooted in the spirit of old-school Death Metal.
Savage deserves to be heard, followed, and enjoyed!
