Chilean guitarist and composer Manuel Saavedra D. has crafted a striking and thought-provoking musical statement with Eón, an album that merges the complexity of progressive metal with the emotional and philosophical weight of mysticism and existential reflection. Fusing advanced technique with modal exploration, Eón is a conceptual journey through time, cosmic dualities, and inner transformation. In this interview, Saavedra unpacks the ideas, influences, and creative processes behind the album, offering insight into a mind where emotion and intellect, sound and silence, tradition and innovation converge.
Your music blends advanced technique with deep emotion. How do you approach balancing technical proficiency and expressive storytelling in your compositions?
I conceive technique as a set of expressive tools — not as a goal in itself. My primary concern is to articulate a conceptual and emotional narrative, and any technical resource I employ must be at the service of that purpose. I work carefully on control of dynamics, articulation, and phrasing, ensuring that even complex rhythmic subdivisions or polyrhythms enhance, rather than obscure, the emotional content. Silence, space, and note placement are as essential to me as speed or virtuosity.
“Eón” feels like a very conceptual and immersive album. Can you tell us about the narrative or philosophical ideas that shaped it?
Eón is built upon the notion of cyclical time, the eternal recurrence, and the fractal nature of existence. Philosophically, it draws from Hermeticism, Neoplatonism, and Gnostic thought, integrating metaphors related to cosmic balance and the duality between material and spiritual planes. Each piece reflects an aspect of this narrative arc — from the individual’s internal struggle to moments of transcendence and dissolution of the self within the infinite.
Modal language plays a big role in your music. How did you develop your interest in modes, and how do you incorporate them into your songwriting?
My interest in modal systems emerged from the need to escape the constraints of conventional tonal harmony. Modes allow me to access emotional subtleties and sonic environments that diatonic major/minor structures cannot fully offer. I utilize modes not only as scalar resources but as frameworks for thematic development and modulation, frequently superimposing modal interchange, polymodality, and symmetrical scales like the diminished or whole-tone. Modes such as Dorian, Lydian augmented, and Phrygian dominant are central to my harmonic language, especially when interacting with chromatic voice leading and altered tensions.
Mysticism is a key element in your work. What particular sources of mysticism or philosophical traditions have influenced your music the most?
My approach to mysticism is syncretic. I draw from Hermeticism, particularly the Kybalion principles, and Gnostic cosmology, alongside elements from Eastern philosophies such as Taoism and Zen Buddhism. I am especially interested in the interplay between the visible and the invisible, the finite and the infinite — ideas that translate into musical polarities between consonance and dissonance, tension and release, density and silence. Symbolism, sacred geometry, and archetypes also influence my structural decisions and conceptual frameworks.
When you set out to compose “Eón,” did you have a clear concept in mind from the beginning, or did the story evolve as the music took shape?
The foundational concept — the exploration of time as a cyclic and multidimensional phenomenon — was present from the outset. However, the development of the narrative was dialectical: while certain compositional choices were consciously directed by the concept, others emerged intuitively through improvisation and later found their place within the overarching idea. This recursive interaction between concept and musical material is, for me, an essential part of the creative process.
As a Chilean artist, do elements of your cultural background find their way into your music, either consciously or subconsciously?
Consciously and unconsciously. The melancholic contour of Chilean folk melodies and certain rhythmic cadences characteristic of South American music appear subtly in my phrasing and harmonic choices, even when framed within progressive metal or fusion contexts. I perceive these cultural traces not as stylistic clichés, but as emotional gestures embedded in my musical DNA.
Progressive metal often pushes boundaries. In what ways do you feel “Eón” expands or challenges the conventions of the genre?
Eón seeks to expand the genre by integrating contrapuntal writing, modal counterpoint, and chamber music textures into the progressive metal framework. Rather than focusing on virtuosity as spectacle, I aim for structural depth and thematic development, where odd time signatures and polymetric layers are not mere technical displays but serve a dramaturgical function. The challenge lies in balancing density with clarity, creating tension not only through complexity but also through harmonic ambiguity and dynamic contrast.
You mentioned aiming to resonate with audiences through conceptual narratives. What emotional journey do you hope listeners experience when they hear “Eón“?
I hope listeners experience a transformative passage — from introspection and existential questioning toward transcendence and inner peace. The emotional arc I seek moves between conflict, catharsis, and contemplation. If the music awakens reflection or evokes a sense of connection with something larger than the self, then the piece has fulfilled its purpose.
Can you walk us through your creative process when writing a new piece — from the first idea to the final arrangement?
My process typically begins with a conceptual impulse or an emotional image, often materialized in a melodic cell or harmonic progression. From there, I employ improvisation as a tool for thematic exploration, which I later shape through counterpoint, harmonic layering, and rhythmic displacement. I frequently use sketching — both notational and recording drafts — allowing me to iterate ideas. The arrangement phase involves refining textures, orchestrating layers (whether digital or acoustic), and carefully sculpting dynamics and space, always searching for coherence between the initial concept and the final sound.
Who are some artists, inside or outside progressive metal, that have been particularly influential in your development as a guitarist and composer?
Within progressive metal, Dream Theater, Devin Townsend, and Cynic have been pivotal. However, my harmonic and structural sensibilities owe much to Claude Debussy, Erik Satie, and Arvo Pärt, particularly in their approach to space and resonance. Guitaristically, Allan Holdsworth and Scott Henderson have shaped my phrasing and modal approach, while composers like Steve Reich and György Ligeti have influenced my understanding of rhythmic layering and minimalist processes.
How do you see your music evolving in the future? Are there new concepts or styles you are eager to explore?
I envision a deeper integration between progressive metal, minimalism, and contemporary classical idioms. I am particularly interested in further exploring the intersection between electric guitar and chamber ensembles, as well as in blending electronic textures with acoustic instruments. Conceptually, I remain drawn to themes of mysticism, existential philosophy, and the metaphysics of time and memory — but I also aspire to experiment with interdisciplinary formats, such as audiovisual installations or site-specific performances.
Finally, what do you hope listeners take away from “Eón” once they’ve experienced it from start to finish?
I hope that Eón serves as an invitation for introspection — that it challenges listeners to contemplate questions rather than offering conclusions. If, after experiencing the album, the listener feels emotionally touched, intellectually stimulated, or spiritually moved, then the work has accomplished its mission.
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