Behind The Music: The Creative Alchemy of Salvation Fleet’s “Scars”

CREDIT: Salvation Fleet

Salvation Fleet is debuting strong with “Scars,” a striking rock track that blends raw emotion and dynamic sound into a powerful musical statement.

Salvation Fleet is a bold new musical venture that marks the creative convergence of two seasoned creatives, Darren and James, whose collaborative journey spans years of exploration across diverse genres. Their new project represents a thrilling blend of alt-rock, electronic experimentation, and raw energy, born from a deep friendship and an unwavering desire to push artistic boundaries.

After years of collaborating in the world of production music for TV and media, the duo felt the urge to create something more expansive, dynamic, and personal. Salvation Fleet’s debut single, “Scars,” marks the realization of that vision. In this interview, Darren and James share the story behind the formation of Salvation Fleet, discuss the inspirations fueling their music, and explore how their diverse experiences have shaped the distinctive sound of their new project.

Singular Culture: What inspired both of you to start Salvation Fleet after collaborating for so many years across different genres?

Darren: We’re both well-versed in pop songwriting and have collaborated on production music for TV and media, which tends to be shorter, focused on setting and maintaining a specific mood for easy manipulation by video editors.

Even in pop songs for production music, we avoid the dramatic shifts and musical excursions found in “Scars.” It’s a rewarding challenge, working within set guidelines to create something that fits perfectly within its framework.

Some songs naturally evolve during the writing process, growing beyond initial intentions. They develop their own identities and demand more space to breathe, allowing the story to unfold and opening up new possibilities for production.

For a long time, James and I have dreamed of releasing these songs to the public. So now, as Salvation Fleet, we’re working to turn that dream into a reality with the release of our first single, “Scars.”

What’s the meaning behind the name “Salvation Fleet,” and what led you both to choose it?

James: Salvation Fleet was originally the name of a song I wrote, and it carries a deeply personal metaphor. It represents the bonds of family, friends, and enduring memories, which are the forces that provide comfort, resilience, and solidarity during difficult times. It’s about that quiet moment of holding on, where there’s a “tiny seed of hope” and the love of others becomes a source of profound resolve and connection.

In those moments when everything else feels stripped away, we catch a glimpse of what is enduring within us. It is in these times that we find a quiet, unyielding light, drawing strength from the steadfast parts of our lives, such as our people, memories, and values, that keep us grounded through life’s turbulence.

Both of you have a rich history of working with different artists and genres. How have your previous experiences shape the sound of Salvation Fleet?

Darren: Really, in many different ways. With every artist and album, there’s always a new trick to learn, adding to the cumulative “trick bag.” I’ve deliberately steered my career into various genres, driven by my deep love of music. For every new project, in a new (to me) genre, there’s always a wealth of knowledge to glean from specialists in that field. It’s a constant exchange. Even within traditional music, I find people eager to try new things, reinventing tradition while maintaining credibility and authenticity. I also embrace new techniques brought by emerging technologies, while preserving the best of established methods by adapting old tricks to modern gear.

More specifically, regarding the overall sound of “Scars”, during the mixing process, I found myself reflecting on the bands and mixes we worked on at The Church Studio during Brit pop’s heyday, particularly in Studio A with the iconic SSL G-series console. The ’90s indie rock scene owes much to that room, with projects like The Jesus and Mary Chain, Depeche Mode, My Bloody Valentine, Ride, Spiritualized, and Radiohead. Major genre-defining producers like Alan Moulder and Flood were regularly booking time there, alongside many other influential indie producers.

During my five years as a staff member and subsequent freelance sessions, the dynamic, punchy, and slightly abrasive sound of the SSL console, combined with The Church’s unique blend of analogue and digital outboard gear, left a lasting impression on me. That sound remains a benchmark for me when working in the indie-rock genre. The techniques we used to create space and depth in the dense midrange of layered guitars are still relevant, and they’ve certainly influenced the sound of “Scars”. 

While we don’t have the SSL, our setup includes a comparable array of analogue processors, with a large-format VCA-automated analogue console at the heart, custom-modified for extended bandwidth to suit the digital age. It’s the best of both worlds!

Though we record digitally in our favorite DAWs, we always ensure the final product is enhanced with an analogue mix, presenting it in the best possible light.

CREDIT: Darren from Salvation Fleet

The lyrics of “Scars” convey a powerful mix of vulnerability and strength. James, can you share the backstory behind this song?

James: The chorus came out of thin air in one of those rare inspired moments. It wasn’t a dramatic catharsis, but more like embodying a character that emerged from the sound of the opening strings.

The verses were different; they felt more like crafting a story to provide context for the chorus, which carried a warning and a sense of foreboding. It felt natural to reflect on that, grappling with the weight of past mistakes. Then came the hope, the belief that it all means something and, maybe, just maybe, we can find some form of salvation.

Later, I realized that some of the imagery was rooted in a childhood memory of a Richard Burton film, “The Medusa Touch”. His character’s declaration, “I am the man with the power to create catastrophe,” felt like a dark reminder of how we often play a role in our own suffering. Burton’s final moments in the film, and perhaps echoes of his tragic end due to alcoholism, cast a shadow over the verses. That childhood memory of awe and fear became part of “Scars”.

Listening to the track now, I see my own life in it too. The line about being “enslaved by the black and bitter taste of the burden” conveys both the literal meaning of addiction and the emotional weight of toxic obsessions we can’t free ourselves from. Sometimes, lyrics reveal meanings you didn’t even realize were there, or the words take you on a journey of rhyme and happy accidents. That’s the joy and adventure of creativity.

Were there any memorable moments or challenges you both faced while working on “Scars”?

Darren: We were living with the first draft of “Scars,” but the second chorus wasn’t hitting as hard as the first. The issue stemmed from the verse chord progression, which mirrored the chorus too closely. The final chord of the verse was the same as the first chord of the chorus, softening its impact. While the big guitars in the first chorus masked this, the second chorus lacked that dynamic boost after the more developed second verse. We realized the solution had to be musical, so we changed the last chord of the second verse. By extending the penultimate chord and letting it hang, we created tension before resolving to the chorus, which gave the second chorus more impact.

We also noticed the original lead vocal on the second verse wasn’t delivering the final, wordy line with enough clarity or drama. To fix this, we adjusted the vocal, ending the first part on a sustained note that matched the chord, and recorded the rest of the line as a backing vocal group. Using old intercom speakers from a Cold War bunker, we placed them down the hall, giving the vocals the right space and dynamic, allowing the words to come through clearly as we seamlessly built into the chorus. What started as a minor problem turned into a satisfying production moment.

The drum rhythms in “Scars” are really impressive and truly elevate the song. What was your approach to recording the drums on “Scars”? Can you share the techniques or setups you used to achieve that sound?

Darren: Cheers! To achieve the sound on “Scars,” two key elements were at play. First, it’s all about the interplay between the drums and the other musical parts, particularly the vocal. I listen closely, responding and complementing the phrasing with grace notes and accents on the snare, hi-hats, and toms. This creates an elastic, emotional drum part that molds to the track, rather than just keeping time. The second key element is the combination of live drums with a minimal electronic loop. The loop, prepared before the live session, serves as a sonic undercurrent, blended under the main acoustic kit. We recorded the basic track live, with drums, guitar, and vocals, and added the electronic groove in the mix.

This approach, blending loops with live playing, wasn’t new, but I drew inspiration from past sessions like with Jesus Jones on “Right Here, Right Now” in 1990, where electronic loops were paired with live drumming to create an electrifying energy. However, on Scars, the live kit takes the lead, with the electronic loop supporting the track’s atmosphere without clashing with the acoustic drums.

Another significant influence was a Curve session in 1992, where producer Flood experimented with recording drums outside the studio, in a tall stairwell, capturing a distant, brooding ambiance. The mic technique used, inspired by Glyn Johns, allowed for a full-bodied but less present sound. This approach taught me that breaking from convention and taking bold, artistic risks is where the real creativity lies, and it’s shaped my approach as both a producer and a drummer. 

We also love the guitar production in “Scars.” Could both of you share your approach to achieving that guitar tone and the layering of the different guitar parts?

James: Guitar-wise, I began by building the chorus with open-string chords and effects to create a wall of sound, layering on top of the intro strings, lead vocals, and Darren’s electronic drum loop. The demo evolved further through plugin explorations, with classic pedal sounds like the Rat distortion and Tube Screamer as the foundation. When Darren and I jammed together to find the groove, I layered more complex sounds, aiming for a cinematic quality. This led me to use a loop pedal for on-the-fly ideas and a Line 6 DL4 delay pedal for its vintage tape echo effects, helping create the ambient tone of the track. I also added amp-driven takes with pedals like the Ibanez TS 808 and Boss Blues Driver, as well as a stereo amp simulation for texture.

Through the jamming process, some ideas stuck while others faded. A standout was the floating delay before the chorus, which became a key feature. It’s often about experimenting with sounds and seeing what resonates. Surprisingly, the song ended up with two solos. The wah solo, born from improvisation, helped enhance the momentum after the first solo, inspired by the lo-fi vibe of Prince’s “Let’s Go Crazy.”

After locking in the groove in our live sessions, we took the elements back to our studios, where I crafted additional ideas like the delay hook in verses 1 and 2 and the octave shifts in the choruses. The final mix ended up retaining more guitar layers than expected.

Darren: I should also mention that blending and balancing those guitar layers into the final wall of sound was helped by one of our secret weapons—various full-track mono and stereo tube tape machines. Electric guitars, especially when heavily distorted, often sound warmer and more dynamic when recorded on analogue tape, compared to purely digital recordings.

CREDIT: James from Salvation Fleet

How do you both stay inspired and motivated after years in a competitive industry?

Darren: The desire to create something new that didn’t exist at the start of the day. Whether it’s learning a new drum pattern at 9, loading a blank tape as a teenager, or today, starting a new session in a DAW, finding the tempo and key, and laying down a guide rhythm guitar part, knowing a whole production journey awaits. It never gets old!

Every day brings something new, something different to focus on, and you look forward to bringing it all together in the mix. Ultimately, hearing people’s feedback and hearing it on the radio makes it all worthwhile and motivates you to start the cycle again. I’ve often thought that when a product is finally out, the real fun begins for the artist—they get to tour the songs and experience the direct appreciation from their fans, which must be an amazing feeling. Meanwhile, people like me move straight on to creating another session, another guide track, and so on.

As a producer/engineer, I’ve never felt the industry was competitive. Before moving to London, I’d read about how tough it was to break into the studio scene. But when I arrived, I had only planned a week to visit studios and gain some insight before applying for jobs. On day one, I called R.G. Jones in Wimbledon, and they invited me over. Within an hour, I was sitting at a huge SSL desk, and the studio manager gave me invaluable advice. By day four, I was sitting in a pub with David Young from The Firehouse Studio, who offered me a job. It felt like the music industry had embraced me right away. A dream come true.

That experience shaped my career, filled with positive energy and a strong sense of camaraderie among musicians and studio people. Though studios have come and gone, that feeling of belonging has stayed with me. I can’t imagine doing anything else, and I’m grateful to those who gave me a chance.

Darren, as a veteran music producer, you’ve witnessed significant advancements in music technology, from plugins to DAW features. How has this evolution influenced the way you produce music over the years?

Darren: When I started, we were recording on 2” analogue 24-track machines, and the only computer commonly used was the Atari 1040ST running Notator (Cubase soon followed). It was strictly a MIDI sequencer with no audio capability. A timecode track synced the computer to the tape machine, and MIDI instruments were typically printed onto tape before mixing. All your work lived on that 2” tape, with only occasional safety copies as backups. On-site engineers kept everything running, and there was a real apprenticeship required to learn both the technical and social aspects of studio life. A wrong move could destroy someone’s work, so trust was essential!

In ’88, when I moved to Ezee Studios, I fell in love with digital recording, thanks to the massive Mitsubishi X850 32-track and its smaller sibling, the X-80 2-track. The X850 was a game-changer, offering eight extra tracks for more takes and longer decision-making. It gave us more separation and control in the mix, allowing individual tracks for more instruments instead of bouncing them together. It was a luxury! Hearing a take without tape hiss was euphoric. Ezee also had brand-new Studer A827 2” 24-track machines, which remain a favorite. They had a smooth, punchy sound that worked great for classic rock and MIDI-heavy projects like Stex’s “Still Feel the Rain” with Johnny Marr, and the Jesus Jones material.

After working with Dave Stewart at Ezee, I moved to The Church Studio, where we went back to strictly analogue, using 48-track setups with two 24-track machines running in sync. In ’94, we became beta-testers for the Otari RADAR system, a 24-track digital multi-track recorder that enabled us to copy, paste, and loop tracks at the same time. This was a huge leap, but the RADAR didn’t initially have a bar/beat display, so we had to use calculators to compute the timecode. Thankfully, they later added that feature.

Around the same time, Pro Tools was making huge strides in track sizes and editing, and many studios started offering it as an optional extra for editing. The 2” analogue master tape was still our main medium, so I’d edit digitally and then transfer back to analogue. As Pro Tools evolved, it became the industry standard, and we started laying basic tracks to tape before transferring them to Pro Tools for the rest of the project. This shift made project studios like mine viable for overdubs and mixing.

I eventually set up my own room with a large analogue automated console and Pro Tools. While I used Pro Tools as a multitrack editor, I still felt the stock EQs and compressors weren’t up to scratch, which led me to collect more outboard gear. I also began to appreciate plug-ins that brought new processing possibilities rather than just trying to replicate hardware.

One of my major breakthroughs was discovering Ableton Live, which provided the right workflow for experimenting with radiophonics and manipulating sounds in a way that no other DAW could. It’s become an essential tool for me, and I’ve used it on projects like “Radiophonic Soundscapes” by Beat Frequency Organization.

Lately, I’m intrigued by the advancements in AI stem separation. There are promising open-source tools, and I see them as highly useful for noise reduction and rebalancing. It’s an exciting area of development that I’m watching closely.

As both of you are in the planning stage for your upcoming EP, what can fans expect in terms of sound and musical direction?

Darren: At this early stage, we’re hoping for more of what you hear on “Scars”. We need to stay on this trajectory to establish our identity. We’ve already gained support from friends in radio worldwide, and thanks to their backing, we’re receiving positive messages from new fans.

We currently have a couple of songs that would work well as lead tracks for the EP, complementing “Scars” in a playlist.

While we do have a range of directions we could explore for a full album, potentially incorporating electronic elements like keyboards, ambient guitars, and my electronic drums, for now, you can expect the same live energy and interplay of acoustic drums, big guitars, and a supportive electronic atmosphere, all anchored by James’ killer vocals leading the way.

Currently in the pre-production stage for their first EP, Salvation Fleet is setting out to carve a unique space in the modern rock landscape. Though they haven’t yet hit the stage, plans are already in the works for live shows, bringing their high-energy performances to audiences around the globe. With early radio success in both North and South America and a growing following, Salvation Fleet is ready to launch into the next phase of their journey.

Get ready for something new. Get ready for Salvation Fleet.