These days it’s seemingly impossible to distance one’s self from the gripping distraction that is technology. With handheld devices that do a million things and the internet just a click away, we’ve become enslaved by it. It’s ironic because technology, under our control, is designed to simplify our lives, and yet we’ve become dependent on it to the point where it controls us. Our daily routines are dictated by our phones and computers, our actions sparked by the looming desire to share a photo or update one’s status. In this world of technological diversions and piercing stimuli, Savages are grasping for something organic, something raw. And if their concert signs (or the album name, for that matter) aren’t obvious enough, the music they make drives the point home. Savages want your attention and that alone. No videos, no flash photography, nothing. Just music.
But don’t misinterpret their back-to-basics philosophy as an act of simplicity. On Silence Yourself, the all-female quartet’s brand of gothic post punk is equal parts chaotic and composed, and showcases a knack for musical diversity. From harsh punk (“Hit Me”) to sprawling, atmospheric compositions (“Waiting for a Sign”, “Marshal Dear”), Savages are able to cover a lot of ground. Much of the credit goes to the band’s playing abilities. Jehnny Beth’s voice is energetic yet sorrowful, and her banshee-like wails on songs like “I Am Here” are spine-chilling. Ayse Hassan’s throbbing bass and Fay Milton’s powerful drumming form a menacing rhythm section. But guitarist Gemma Thompson steals the spotlight. Her dynamic style transitions from shimmering melodies to distorted power chords to noisy waves of feedback, albeit with such poise and certainty. Together, these four women burn through song after song with relentless stamina and passion.
Musically, Silence Yourself is a turbulent mix of gloom, fright, and angst, and the lyrics only amplify those feelings. Album opener “Shut Up” is a bold statement about the distractions of today’s world and how they rob us of our identities. “No Face” follows in a similar vein, but delves into desperate pretension and mimicry as a means of defining one’s personality. And “She Will” is a tale of lust, sexuality, and the consequences that may ensue upon the embodiment of such traits.
Ultimately, Silence Yourself is about as genuine and honest as you can get. Savages don’t believe in smoke and mirrors; this is the real deal, and they wouldn’t have it any other way. With strong musicianship and lyrical content, they’re easily one of 2013’s most captivating bands. So do yourself a favour and shut up. Savages are playing.