By Rick Polo (Editor-in-Chief)
Album: Silence Yourself
Release Date: 5/6/13
Sweeping reverb-drenched guitar and bouncing fuzzed out bass is what you’ll get throughout Silence Yourself, the debut album from the female-led British post-punk outfit Savages. Not only does it burrow its way into your psyche with its lush hypnotic soundscapes, but it’s an ever-so pleasant and refreshing twist on the early days of post-punk and shoegaze.
Since first arriving on the scene with last year’s underrated EP, I Am Here, and furthermore with Silence Yourself, Savages have perfected the sound of “dreampunk.” By taking the post-punk of Bauhaus and Joy Division, mixing with a heavy dose of Hum-esque dreampop and Slowdrive-esque shoegaze, then sprinkle in the quark of Queens of the Stone Age and the Screaming Trees and you have Silence Yourself.
Propelled by the haunting vocals of lead singer Jehnny Beth, Savages’ debut is a hard-hitting collection of 11 perfectly-woven songs. Launching with the spastic “Shut Up,” Beth’s vocal chilling vocals atop guitarist Gemma Thompson’s droning dissonance, Silence Yourself firmly establishes itself right off the bat.
From there, the thumping bass line of “I Am Here” and the soaring guitar of “City’s Full” reel the listener in with the driving dissonance, and pulsating rhythms. “She Will,” “No Face” and “Hit Me” continue to roll the punches, drenched in effect-heavy guitars and growling vocals. However, slow burners such as the tracks “Waiting For A Sign” and “Marshall Dear” showcase the band’s range and potential. After repeated listens, these “slower” tracks eventually leave more of an impact than the more immediate and up-beat tracks.
All in all, Silence Yourself is one of the more exciting of the post-punk revival albums in recent years. It doesn’t feel like an attempt at the genre, but more a natural progression of the musical style. Fans of this year’s My Bloody Valentine comeback record, The Knife’s new record and anything from Joy Division and New Order will surely dig Silence Yourself.