When it comes to Savages’ debut album Silence Yourself only one thing is certain: this is a confrontational piece of music. It’s a smack of spittle to the face; the recoil of a revolver blast; the hang time of a jump into the deep end. This is post-punk at its hardest hitting, the kind of music that’s half pleasure, half pain, and 100 percent grim. It’s dramatic, it’s brutal, it’s surprising, it’s vital.
Formed two years ago in London, the four-piece all-girl punk group initially drew the attention of the blogosphere with the release of “Husbands,” their howling locomotive of a track whose incendiary bite immediately signaled at great potential. Now, having run the festival circuit and with Coachella and SXSW performances under their belt, their music face the real test as Silence Yourself is their first major studio album.
While Savages’ sudden rise to prominence as a primo post-punk band is certainly a story in itself, the emotional depth of Silence Yourself is their most intriguing offering. From the moment the assault begins with the irregular heartbeat of “Shut Up,” there comes the unshakeable sense that Savages have something to get off their chests, it’s just unclear what that is. The lyrics don’t fully clarify the album’s sinister intents, and instead serve as incendiary stream-of-consciousness snippets directed toward who-knows-who. And while it would seem that the album’s visceral onslaught and commanding moniker are directed at the listener, “Marshal Dear” seems to be directed at an ex-lover; “She Will” looks to be directed at nobody in particular.
Who is this album for? What is it trying to say? After the first five minutes, these questions will almost invariably rise to the surface, and only become less vexing through the experience of the music itself.
Stylistically, Silence Yourself draws inspiration from both inside and out of its post-punk sphere. While the plodding, dark, driving, and sinister bass lines of Ayse Hassan might bring Repeater-era Fugazi to mind, songs like “Strife” introduce guitar solos reminiscent of Kyuss’ distorted stoner rock. Lead Singer Jehnny Beth contributes to the band’s penchant for unpredictability, offering a high-flying vocal presence that’s reminiscent of Bono circa The Joshua Tree. For a rock singer, she’s got an uncanny ability to swing between vocal stylings on the fly: immediately following the disjointed Joe Strummer she pulls out for “Husbands,” she does an about-face for album closer “Marshal Dear,” where she croons like a fuller, more enigmatic Nancy Sinatra.
If there’s one thread that holds these stylistic pieces together, it’s the hazy, dimly lit space they all occupy. Every moving part on this album contributes to a binary mood that’s ominous or intense; foreboding or ballistic. And while the music is oftentimes as nebulous as a dream, it always hits with the urgency of a nightmare.
With its ambiguously grotesque imagery (“No Face”), eerie echoing soundscapes (“Dead Nature”), and melancholic trudges along dark paths (“Waiting for a Sign”), Silence Yourself appeals directly to the human subconscious. The album’s greatest success is that eventually, the music becomes a voice in the head of the listener. It speaks in dream-like, ambiguous terms, providing imagery of domineering girlfriends and overbearing Husbands, poking at primal urges that have never been recognized. “Shut Up,” it commands. “Silence Yourself.”
The album’s lessons may not be totally clear, but they’re not meant to be. By setting a consistent musical tone and creating an oppressive atmosphere for the listener, Silence Yourself is a force-fed manifesto of ideas and images that confront traditional paradigms, and are a pleasure to listen to. It’s an impressive first outing, and the kind of raw, powerful debut that’s sure to remain important for years to come.
Josh Calixto
Latest posts by Josh Calixto (see all)
- Derek Rogers Brings Ambient Drone to Life in Los Angeles - August 21, 2013
- Featured Artist: Jagwar Ma - July 18, 2013
- James Bay Clicks With the Troubadour on His First U.S. Tour - June 18, 2013
Pingback: Savages Romanced Chicago - Best New Bands