Savages - Silence Yourself, album review (Indie/Alternative/Post-Punk, UK)

Savages perform like a band who have taken their lessons from Siouxsie Sioux, filtered them through The Pixies, stopped off to meet Bauhaus, and landed in the arms of Joy Division. That said, they aren’t mere revivalists that are recreating their parents’ favourite records, Savages offer too many of their own powerful perceptions concerning the bleak corners in their monochromic world to be considered unoriginal. The release of their sensational single ‘Husbands’ last year seized the attention of alternative-rock fans galore, but it was their confident, intense live performances that proved themselves worthy of being musicians. Our anticipation for their debut release was not met with disappointment, as our fears of their live performances over-shadowing their studio-recorded efforts were surprisingly proved wrong; the eleven track album, Silence Yourself, could be considered an immediate classic with Jehnny Beth’s vehement, uncompromising attitude stamped across forty minutes of limitless energy.

Unlike many current indie bands that find their influence, concerning sound and melody alone, from post-punk bands, it is post-punk’s controversial views towards society and moral expectations, anxiety towards the modern world, and chilling themes that the Savages find solace with - while still sounding current. Opener ‘Shut Up’ commences with a foreboding excerpt from John Cassavetes' film ‘Opening Night’ which could be seen as a slight prelude of the deep, warped atmosphere that continuously develops and flows across the record. The lyrics are stark, harsh and memorable with poignant bass-lines that take centre stage when Jehnny isn’t wailing in a Siouxsie fashion. Stripped-back, tenacious elements from the punk genre meet Joy Division’s dehumanised ennui in ‘I Am Here’; cymbals crash and cascade relentlessly towards the end of the three minute paranoia-inducing track. Jehnny’s vocals remain raw throughout, and honestly, it is refreshing to hear such talent as she screeches “I am here! I am here! I am here!”
It would be naïve to say that Savages lack in musical skill; Gemma Thompson, Ayse Hassan and Fay Milton all contribute something to create songs that smoulder, ignite and intensify. Gut-wrenching guitar distortions and bass riffs are most noteworthy and impressive during ‘City’s Full’ and ‘Strife’; drumbeats either pound explosively or provide a soothing, timely rhythm in slower areas of the latter track.  ‘Hit Me’ and ‘She Will’ are compositions taking a more punk approach to their music with tremendous, shuddering drum-beats, piercing guitar distortions and vocals that will creep up on our senses and suddenly suffocate them with screams - not a bad thing, I might add.
One of the concepts that the Savages try and push across in their record is to challenge and question everyday routines, ideas and labels that people perceive as ‘normal’. This is present in the track ‘Husbands’ where the word ‘husbands’ is repeated countless times, becoming more manic, eccentric and high-pitched each time that it is uttered, rendering it completely alien to its meaning. Partnered with the lyrics “I woke up and saw the face of a guy, I don’t know who he is”, off-putting guitar riffs and cymbal clashes, it creates a disorientating, jumbled sound - one of the more stunning tracks on the album.
‘Waiting For A Sign’ and ‘Marshal Dear’ are mouth-watering glimpses into what else Savages can offer as a band. More slower in pace, they create a mature atmosphere with overarching distortions, fragile whispers; a piano and jazz-brass solo are delicate touches in ‘Marshal Dear'.

Silence Yourself is one of the most artistic endeavours that post-punk has offered in a long time, combining visceral, brutal elements of punk with bleak, softer influences, resulting in songs that are fairly similar to Siouxsie & the Banshees earlier material. Riffs and hooks aplenty, with postured vocals thrown in for good measure, Savages are artists that have created one of the more notable debuts released in 2013.

Check out the video for 'Shut Up' below

The National - Trouble Will Find Me, album review (Indie, USA)

Brooklyn-based quintet, The National, have become one of the more intriguing bands on the indie-rock scene ever since their 2001 debut; fronted by the disenchanted, yet humble, Matt Berninger, a baritone, the band has begged for comparisons with the shadowy, melancholic sound of Joy Division. Their sixth studio-produced LP, Trouble Will Find Me, is built on foundations of dying love, a tormenting past, self-disgust and an apathetic attitude towards modern and urban lifestyles, upon which handsomely-constructed, celestial melodies are built. Trouble May Find Me may not top critically acclaimed previous releases, (for example, Boxer and High Violet), but individual songs such as ‘This Is The Last Time’, ‘Demons’ and ‘Sea Of Love’ could just be their best pieces of work to date.

Opener ‘I Should Live In Salt’ is reminiscent of Nick Cave & the Bad Seeds – hopeless-sounding vocals, lightly-played chord arrangements and a pleasant drum backbeat that builds to something more compelling as Berninger heartbreakingly yelps “I should live in salt for leaving you behind.” Elsewhere, quietly purposeful and reflective tracks ‘Don’t Swallow The Cap’, ‘Demons’ and ‘Pink Rabbits’ revisit a more meandering, drunk-under-the-table-at-2am ambience, signalling a move towards their finest material. Moody and world-weary, ‘Demons’ is the first standout track on the album with lyrics unsubtly conveying Matt’s disappointment at feeling hopelessly stuck in a cycle of depression and missing people he has left behind. ‘This Is The Last Time’ uses a simple bass riff and a delicate drum beat alongside outstanding vocals, making an excellent mid-album peak; this track envisions strong and frightening emotions felt at the end of a relationship, and the desperate struggle of fighting for something that has already been lost-absolutely superb.
‘I Need My Girl’ is not dissimilar from Bon Iver or Fleet Foxes with soft folk chords being played unforgettably in a rhythm that is impossible to shake, and a persuasive chorus that is difficult to resist singing along to.  ‘Heavenfaced’ wouldn’t sound too out of place on Foals’s latest album, Holy Fire, while bittersweet, easy-listening songs like ‘Slipped’ and ‘Humiliation’ are a magnificent way to bring the album to a close.

The National’s latest venture at creating emotionally provocative contemplations deserves more than just the once over; amongst the overly-produced music that is ever present in the indie genre, this album is a diamond among the rough, which deserves to shine with its fresh batch of endearing and mesmeric songs.

Check out The National's video for 'Sea Of Love' below