Jan 23, 2017 Silence Yourself 2013 Indie 320kbps CBR MP3 Savages – Silence Yourself. Publicado em 23 de dezembro de 2013 por mariah. At last, UK post-punk quartet Savages have shared details of their debut record. Silence Yourself will be released May 7 via Matador and frontwoman Jehnny Beth's Pop Noire label. Silence Yourself follows the group's brutally. May 06, 2013 Silence Yourself Savages Alternative 2013 Preview SONG TIME Shut Up. 4:47 PREVIEW I Am Here. 3:20 PREVIEW City’s Full. Since Savages have cultivated such a politicized aesthetic, it’s hard to divorce the concept behind the art from the art itself, but Silence Yourself delivers if you are willing to submit to its unflinching authority. Grunge in 10 Albums. Around thirty years ago, Seattle became the epicenter of the rock scene, largely thanks to grunge music. The grungy, ‘I don’t care’ attitude rose from the ashes of punk, heavy metal and alt-rock, and instantaneously went from an underground movement to a worldwide success.
Silence Yourself must’ve been a hard act to follow. It’s not just that Savages’ 2013 was a great album, though it absolutely was. It’s that Silence Yourself was a closed system — the sort of great album that suggests no great follow-up is possible. Savages arrived fully-formed, with a sound and an aesthetic and a point-of-view. It was tempting to call them a punk band; they had velocity and ferocity and vengeful intensity. But they weren’t wild. They were spartan and meticulous, their music as efficient and carefully assembled as a German car. That album had no wasted motion, no extraneous sounds or gestures. It was new wave turned feral — Elastica during wartime. And go ahead and ask Elastica how easy it is to come up with a sophomore album when your debut is an out-the-gate classic. In most cases, your only real option is to make an album that sounds like the first one but isn’t as good. But Savages figured out a way out of that trap. On Adore Life, they go big.
A couple of years ago, Savages frontwoman Jehnny Beth wrote about going to see Soundgarden and about rediscovering all the old grunge giants that she’d missed out on when she was younger. In more recent months, she’s recorded with Julian Casablancas, and Savages have covered Eagles Of Death Metal. Maybe it’s a mistake to see a narrative in Beth’s embrace of the last vestiges of rock’s old heroic swagger, but I hear some of its influence on Adore Life. Savages have also spoken in awe of Swans, and they’ve recorded a whole collaborative full-length with the Japanese experimental psych-rock band Bo Ningen, and I hear some influence from that corner of the guitar-rock universe, too.
In its own way, Adore Life is just as sexual as anything by Soundgarden or the Strokes. It’s sexual from a female perspective, of course, but when she’s singing about domination or power dynamics, Beth can sound no less larger-than-life than, say, Robert Plant. “Come and be my muse,” she snarls. And on the same song: “I hate your taste in music / You’re not the one I’ve been waiting for / Chase you around the tables / I want your fingers down my throat.” Adore Life isn’t as explicitly political an album as Silence Yourself, and Beth isn’t as concerned about feeling alienated from a society that’s never made room for her. But she shows no timidity in adapting her own version of the old classic-rock sex-god persona. And that, in itself, is political.
And the sound of the album is grander, more oceanic than it was on Silence Yourself. It’s vast in a way that somehow recalls both Swans and Soundgarden. Savages can still sprint, as on “T.I.W.Y.G.” But they’re more likely to slow things down, to relax into spacious and wide-open grooves. “Silence Yourself” had two straight-up ballads, “Waiting For A Sign” and “Marshall Dear,” the were among the album’s most revelatory. On Adore Life, Savages absorb the slow-burn atmospherics of those songs into the rest of their sound. Adore Life has no such outliers. Instead, a song like “Adore,” with its patient and confident tension, is way more of-a-piece with even the most riotous tracks that surround it.
The lyrics are different this time, too. Beth is singing, in sweeping and theatrical and nebulous ways, about love and life and loving life. As in: “I adore life,” the koan she sings over and over on “Adore.” In this Pitchfork story, Beth described the difference between the two albums thus: “The last one was the problem. This one’s the solution.” The solution, if I’m reading Beth’s lyrics right, is some combination of love and sex and confidence and willingness to withdraw from everything around you. “Something to be said about slowing down the world,” she sings on “Slowing Down The World,” a song about finding someone and holing up somewhere: “I offer you someone / to shape the world with light / Only with dark desires / Your nights will flame with fire.” She sings a lot about wanting to feel new sensations and emotions, about pushing herself. But it’s all internal and personal. It’s not an album about a repressive world. It’s one about making your own world.
The things that were great about Savages on the last album — the barely-contained knife-edge fury, the clean and meticulous riffage, Beth’s icy-monolith charisma — are still very much evident on Adore Life. But we also get something new: A band striving to form a new language, to express rapture as well as rage. If Silence Yourself was all exquisite tension, Adore Life begins to offer something like relief.
Adore Life is out 1/22 on Matador.
Other albums of note out this week:
• Chairlift’s idiosyncratic pop blissout Moth.
• Jesu and Sun Kil Moon’s wordily sad self-titled collaboration.
• Ty Segall’s bugged-out psych-rocker Emotional Mugger.
• Eleanor Friedberger’s relentlessly clever and pleasant New View.
• Shearwater’s sweeping, majestic art-rocker Jet Plane And Oxbow.
• Tortoise’s intuitive comeback The Catastrophist.
• Washer’s fun self-titled DIY debut.
• Suede’s arch, glammy return Night Thoughts.
• Tricky’s stoic, personal Skilled Mechanics.
• Former Immortal frontman Abbath’s self-titled black metal solo album.
• Trail Of Dead frontman Conrad Keely’s solo move Original Machines.
• Tindersticks’ reliably apocalyptic The Waiting Room.
• Adrian Younge’s orchestral soul LP Something About April II.
• The Besnard Lakes’ indie progger A Coliseum Complex Museum.
• Pop. 1280’s misanthropic postpunk rumble Paradise.
• NZCA Lines’ synthpop dance party Infinite Summer.
• Blouse leader Charli Hilton’s solo debut Palana.
• John Cale’s self-mythologizing kinda-reissue M:FANS.
• Indie godfathers Half Japanese’s latest missive Perfect.
• Bonnie “Prince” Billy’s Peel Sessions collection Pond Scum.
• CTM’s Suite For A Young Girl mini-album.
• Ghost Against Ghost’s Unarm EP.
• Joel Michael Howard’s I Feel Nauseous EP.
more from Album Of The Week
Ayes Hassan, Gemma Thompson, Jehnny Beth and Fay Milton. Photo byRichard Dumas
Silence Yourself is the debut album by Savages, a ferocious, fully formed record that sounds like a lost transmission from the core of England’s post-punk lineage.
The world’s first sighting of Savages came as recently as Jan. 2012, with a short, well-shot B&W video of the band performing one of their best songs (my personal favourite), “City’s Full.” With Ayse Hassan’s bass at the apex of the mix and singer Jehnny Beth’s wide-eyed transfixion, it screams Joy Division more loudly than anything on their subsequent record does.
The comparison to the posthumously ubiquitous Manchester band is common, as is that of Beth’s voice to Siouxsie Sioux and Gemma Thompson’s guitar grind to PiL. They’re all apt, but more than most contemporary bands designated post-punk, Savages are worthy of inclusion in that canon. And unlike much of the canon itself (with the possible exception of Siouxsie & the Banshees, who had their moments), Savages are sexy—their music, while easily linked to post-punk’s anti-blues, “rip it up and start again” ethos, doesn’t entirely eschew rock ’n’ roll’s carnal groove. Just listen to “Strife”—the song would penetrate you sexually if it only had a cock.
And that, if you’ll pardon the salacious segue, is where Johnny Hostile comes in. Beth and Hostile—née Camille Berthomier and Nicolas Congé—have personal and musical roots that go deeper than this decade, down to 2006, when they left their hometown of Poitiers, France for London, where they launched their music project John & Jehn.
“It was a very intimate project, something that was much more a way of life than a profession, which is what I consider the music to be now with Savages,” says Beth. “John & Jehn was, for me, very valuable—everything I know about music or the music business is something I’ve learned with John.”
When it came time for the duo to tour their sophomore LP, Hostile enlisted a drummer and a girl he had “a guitar crush on”: Gemma Thompson. Over two years on the road, he and Thompson made a musical connection that moved her to ask him to sing in a new band she was forming with Hassan, the band that would become Savages. But this coincided with John & Jehn falling out with their label, founding the Pop Noire label and signing LESCOP, a project that Hostile became increasingly occupied with in the studio. So he stepped away from Savages, never venturing to centre stage, though he’d eventually return to produce Silence Yourself.
“I thought it’d be a good idea if I tried to sing for this project,” says Beth. “When Gemma came up with the name Savages, I was writing lyrics that I thought were similar to the ideas that Gemma had and the things she was reading at the time, and so we sat down and tried to see it clearly. But there were no sounds—it was more like ideas. And then the three of us—me, Gemma and Ayse—thought we should have a female drummer, so we asked around and found Fay.”
When asked why the drummer needed to be female, Beth laughed at her inability to explain their reasoning. An intuitive desire “to create something complete” was as close as she came to an answer. It’s not much of a leap to attribute the choice to aesthetic consistency, especially when you see what a different beast Beth was in John & Jehn, with her longer hair, vulnerable eyes and relatively innocent lyrics about love. Savages is deceptively high-concept, and that’s what makes them so damn tight.
Aside from the band’s sonic power and songwriting skill, and Beth’s gripping stage presence and masterful voice, Savages are remarkable for the way that her penmanship matches the music’s sexual energy. She manages to be frank AND sexy without sacrificing poetic flow, an especially impressive feat for an ESL writer.
Savages Silence Yourself Rare
“I was researching erotic poetry a lot, because the third John & Jehn record has a lot of exploration into eroticism. It was really hard to find a female voice for eroticism, something that was going to be direct, simple and not too romantic. And funnily enough, I found that very much in gay poetry. Then I found some similarities between erotic poetry and war poetry. I found the same directness, and it had the same impact on me. Often very powerful—poems which would contain the extremes of life and the intensity that I needed.
“Then, in terms of music, it was more trying to find a representation of the ideas that we were having, and also concentrating on the fact that we wanted to write for stage. We wanted to write music to be performed.”
Savages Silence Yourself Rarely
Savages Silence Yourself Torrent
As great as their record is, seeing Savages’ live show is reportedly essential—the NME Rpg maker for mac. called it “frottage-inducing,” but we’ll have to report back to you about that. In John & Jehn, Beth developed a flare for theatricality, and an understanding that focused intent and simple presentation are key to audiences’ hearts and minds.
“It’s not that people really notice it. It’s kind of subliminal,” she says of Savages’ performance technique. “Instead of looking at what other bands are doing, we just asked ourselves, ‘What would you do if you had to do everything from the beginning, strip everything down and start again from scratch?’ This is how we try to communicate with our music in different ways, to bring people into our world.” ■
Savages play with opener Johnny Hostile at la Tulipe (4530 Papineau) on Monday, July 15, 8 p.m., $20/$23, all ages.