Album review: Savages – Silence Yourself
- Credit: Archant
Superbly executed slab of lean, muscular but sparingly-applied rock, led by your new favourite frontwoman.
As their name might suggest, Savages don’t do subtle. Their muscular, loping, purposefully back-to-basics music would be enough to mark out this foursome from the crowd.
But they also have Jehnny Beth up their sleeve, who emits a kind of foreboding luminousity rarely seen these days.
From the primal tub-thumping and libidinous bassline of I Am Here, to the stormy desolation of Waiting For A Sign, Beth commands attention with a powerful holler and undeniable conviction.
An alluring mix of Siouxie Sioux, Karen O and Patti Smith, she thrillingly commands Savages’ music on the likes of City’s Full, but the shape-shifting mechanics of drum, bass and guitar produce some truly arresting moments.
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The roiling, coruscating guitar and prowling bass of Strife and filmic Dead Nature are cases in point.
But when cutting loose for the rocker No Face or unveiling piano in mystical closer Marshal Dear, Savages realise their rare talent for gutsy conviction.
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