SAOR: From Highland Ruins to Black Metal's New Frontier

SAOR is the Caledonian metal solo project of Andy Marshall, with Caledonia being a romantic, sentimental moniker for Scotland. On his latest release, Amidst the Ruins, released on Season of Mist Records, Marshall and his collaborators deliver an atmospheric black/folk metal composition reviving the gracious essence of the Scottish landscape's battles, legends, and timeless allure.

Along with his raspy yells and vicious guitars, Marshall incorporates indigenous instruments to capture the aura of Caledonia, including tin whistles and uilleann pipes performed by guest musician Ella Zlotos, who also provides enchanting clean vocals. Cello by Jo Quail and Samuel C. Ledesma, plus violin and viola by Angela Moya Serrat, also contribute to setting the visceral tone. Carlos Vivas contributes to the ferocious percussion, perpetuating the aggressive metal dimension of the project.

Via the five epic tracks, containing an average running time of twelve minutes, SAOR emphasizes what's been lost not only in modern Scottish and world culture but also within humanity. In this interview, the project's brainchild elaborates on his views communicated through his sixth full-length studio album.

Michael Centrone: What inspired the album title, Amidst the Ruins, and how does it encapsulate the central theme?

Andy Marshall: The title came to me while I was hillwalking about a year ago. I stumbled across the remains of an old cottage with just a few crumbling walls and scattered stones left behind. As I walked through it, I started thinking about the people who had once lived there. You can't help but wonder how they survived in such harsh conditions, carving out a life in such an unforgiving landscape. It hit me how much has been lost to time—whole lives, families, and communities just gone, leaving behind little more than ruins. That moment stuck with me.

But it also has another layer of meaning for me. When I look around at the modern world, sometimes it feels like we're living amidst ruins of a different kind. Society feels fractured. People seem more disconnected than ever, caught up in their screens, scrolling endlessly, consuming junk, whether it's food, media, or shallow distractions. Attention spans are almost nonexistent, and real human connection feels like it's slipping through our fingers.

The album reflects on both of these ideas: the resilience of the past and the fragility of the present. Standing in the ruins of that old cottage, I felt a strange mix of awe and loss. I think that's what the title tries to capture—this sense of reflection, and the hope that maybe we can find a way to rebuild whether it's through our connection to history or something we create for the future.

Michael: How do the song lyrics portray your views on this decoupling with our true nature?

Andy: The themes are really tied to Scotland's history, the land itself, and the idea of personal and spiritual renewal. "Amidst the Ruins" is about rising up from the ruins of a world that's become disconnected from its roots, urging us to reconnect with what's been forgotten. "Echoes of the Ancient Land" is a reflection on the power of the land—its forests, hills, and the people who lived there before us. It's about honoring our connection to these places and the stories they carry.

"Glen of Sorrow" is a more somber track, inspired by the Glencoe Massacre. It's a song of mourning but also a call to remember and stand strong, even in the face of betrayal. "The Sylvan Embrace" focuses on the peace and healing that can be found in nature. It's about finding a safe place in the forest, a refuge where you can clear your mind and just be. And "Rebirth" is all about transformation, embracing the cycles of life, death, and renewal. It's about learning from the past and finding strength through change.

Michael: On this new record, how do the music and instrumentation reflect the broader traditions of Scotland's ancient history and folklore?

Andy: I'm not from a traditional folk background, but I've always felt a strong connection to Scotland's history and the sounds of its landscapes. I try to capture my interpretation of how some of those old melodies might sound today. I've found my own way of blending folk instruments like bagpipes and fiddles with guitar melodies that feel true to my style. It's my attempt to honor the traditional music while also making it my own.

The music isn't strictly about following tradition, but more about evoking the emotions and themes that come from Scotland's past. The folk instruments add a sense of connection to the land and its history, but they're woven together with my own guitar work and modern elements.

Michael: What traditional Caledonian values and perspectives do you think are lost in modern times?

Andy: I don't think this is just a Scottish thing, it feels like something the whole UK has lost. One big change is the sense of community and kinship. People used to really rely on each other; neighbors helping neighbors, and there was a feeling of being part of something bigger. Now, with how fast life moves and how much time we spend online, it feels like we've become more isolated and focused on ourselves.

Another thing is our connection to the land. In the past, people lived in tune with nature, respecting it and working with it. Now, we've grown so detached, and our relationship with the environment feels more about taking than giving.

And honestly, I think we've lost a certain resilience and ability to find meaning in simpler things. Life was tougher back then, but people appreciated the little joys—stories, traditions, and just spending time with others. Today, it feels like everything's about instant gratification and chasing more.

Michael: Why do you feel the black metal style melds best with the Caledonian theme with all its traditional instruments and melodies?

Andy: For me, it just felt natural. Growing up in Scotland, I was always surrounded by traditional music, so it's been a part of me for as long as I can remember. But honestly, I don't like labeling my music as strictly black metal or putting it into any kind of box. Metal has always been a huge influence, but I'm inspired by so many different genres; it all ends up blending together.

I think it works because I don't use folk instruments in a cheesy way like some folk metal bands do. For me, it's about using those traditional elements to build the atmosphere and bring real feeling to the music. It's not just for show; it's about creating something authentic that connects to the stories and spirit of the land.

Michael: What inspired the greater incorporation of female vocals on the new album?

Andy: To be honest, it wasn't something I planned. It just happened naturally. Female vocals have been a part of my albums for a while, especially the last two, so this isn't really new for me. When I was working on the songs, it just felt like some of them really needed that extra layer of emotion, and Ella absolutely nailed it. Her voice added so much to the atmosphere and brought something special to the music.

Michael: Has becoming a father changed or affected you in any way as an artist?

Andy: Becoming a father has been a life-changing experience, not just for me as a person but also as an artist. The first year was definitely a bit of a whirlwind, trying to adapt to this completely new rhythm of life. One of the biggest things I realized is how precious time is, especially the quiet moments when I can focus on my music. Before I had a child, I had all the time in the world, but I didn't fully appreciate it. Now, when I do get time to work, I'm so much more focused. Fatherhood has really taught me how to prioritize and make the most of the time I've got.

At the same time, becoming a dad has brought so much balance and perspective to my life. Music is still a huge part of who I am, it always will be, but being a father is hands down the most important role I've ever had. There's just nothing that compares to the joy and responsibility of raising a child. It's not something I'd trade for anything.

Of course, it's made playing live a bit more complicated. I have to plan everything way in advance now, at least a year out to make sure I can juggle touring and family life. Don't get me wrong, I still love traveling, seeing new places, and sharing my music with people around the world. That will always be an incredible experience. But coming home to my family after a show or tour, that's where I feel truly fulfilled now.

Purchase SAOR's Amidst the Ruins from Bandcamp or Qobuz and listen on your streaming platform of choice. Follow SAOR on Instagram and Facebook.