Savages
Silence Yourself
Boomkat Product Review:
Debut album from the heavily stylised, NME-adored but not untalented post-punk pastiche troupe Savages. The debt it owes to Siouxsie & The Banshees, particularly the peerless Juju, couldn't be more pronounced: Fay Milton's drums echo the steamrolling, tom-heavy sound of Budgie, Gemma Thompson references John McGeogh's molten guitar parts almost to the note and, most obviously, singer Jehnny Beth does a spirited karaoke impresh of our Siouxsie throughout. If you're going to ape a classic record or line-up, you could do a lot worse than Juju-era Banshees, and this is confidently written and performed stuff, with slick production from Johnny Hostile and Rodaidh McDonald that makes the band sound radio/crossover-viable without letting too much light in. The album has two settings - pounding motorik goth-rock and maudlin monochrome power-balladry; it takes itself awfully seriously, a rare and pretty laudable quality these days, but unfortunately its aura is pricked by some embarrassing lyrics and an all-pervading stink of retro - a sense that you've heard it all before. Still, there are some decent songs - 'Waiting For A Sign' sounds like Jeff Buckley backed by The Birthday Party at their most skag-sick, and guitar-free instrumental 'Dead Nature' is a diverting slice of mortuary ambience.
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Boomkat Product Review:
Debut album from the heavily stylised, NME-adored but not untalented post-punk pastiche troupe Savages. The debt it owes to Siouxsie & The Banshees, particularly the peerless Juju, couldn't be more pronounced: Fay Milton's drums echo the steamrolling, tom-heavy sound of Budgie, Gemma Thompson references John McGeogh's molten guitar parts almost to the note and, most obviously, singer Jehnny Beth does a spirited karaoke impresh of our Siouxsie throughout. If you're going to ape a classic record or line-up, you could do a lot worse than Juju-era Banshees, and this is confidently written and performed stuff, with slick production from Johnny Hostile and Rodaidh McDonald that makes the band sound radio/crossover-viable without letting too much light in. The album has two settings - pounding motorik goth-rock and maudlin monochrome power-balladry; it takes itself awfully seriously, a rare and pretty laudable quality these days, but unfortunately its aura is pricked by some embarrassing lyrics and an all-pervading stink of retro - a sense that you've heard it all before. Still, there are some decent songs - 'Waiting For A Sign' sounds like Jeff Buckley backed by The Birthday Party at their most skag-sick, and guitar-free instrumental 'Dead Nature' is a diverting slice of mortuary ambience.
Boomkat Product Review:
Debut album from the heavily stylised, NME-adored but not untalented post-punk pastiche troupe Savages. The debt it owes to Siouxsie & The Banshees, particularly the peerless Juju, couldn't be more pronounced: Fay Milton's drums echo the steamrolling, tom-heavy sound of Budgie, Gemma Thompson references John McGeogh's molten guitar parts almost to the note and, most obviously, singer Jehnny Beth does a spirited karaoke impresh of our Siouxsie throughout. If you're going to ape a classic record or line-up, you could do a lot worse than Juju-era Banshees, and this is confidently written and performed stuff, with slick production from Johnny Hostile and Rodaidh McDonald that makes the band sound radio/crossover-viable without letting too much light in. The album has two settings - pounding motorik goth-rock and maudlin monochrome power-balladry; it takes itself awfully seriously, a rare and pretty laudable quality these days, but unfortunately its aura is pricked by some embarrassing lyrics and an all-pervading stink of retro - a sense that you've heard it all before. Still, there are some decent songs - 'Waiting For A Sign' sounds like Jeff Buckley backed by The Birthday Party at their most skag-sick, and guitar-free instrumental 'Dead Nature' is a diverting slice of mortuary ambience.
Available To Order (Estimated Shipping between 1-3 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Debut album from the heavily stylised, NME-adored but not untalented post-punk pastiche troupe Savages. The debt it owes to Siouxsie & The Banshees, particularly the peerless Juju, couldn't be more pronounced: Fay Milton's drums echo the steamrolling, tom-heavy sound of Budgie, Gemma Thompson references John McGeogh's molten guitar parts almost to the note and, most obviously, singer Jehnny Beth does a spirited karaoke impresh of our Siouxsie throughout. If you're going to ape a classic record or line-up, you could do a lot worse than Juju-era Banshees, and this is confidently written and performed stuff, with slick production from Johnny Hostile and Rodaidh McDonald that makes the band sound radio/crossover-viable without letting too much light in. The album has two settings - pounding motorik goth-rock and maudlin monochrome power-balladry; it takes itself awfully seriously, a rare and pretty laudable quality these days, but unfortunately its aura is pricked by some embarrassing lyrics and an all-pervading stink of retro - a sense that you've heard it all before. Still, there are some decent songs - 'Waiting For A Sign' sounds like Jeff Buckley backed by The Birthday Party at their most skag-sick, and guitar-free instrumental 'Dead Nature' is a diverting slice of mortuary ambience.
Available To Order (Estimated Shipping between 1-3 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Debut album from the heavily stylised, NME-adored but not untalented post-punk pastiche troupe Savages. The debt it owes to Siouxsie & The Banshees, particularly the peerless Juju, couldn't be more pronounced: Fay Milton's drums echo the steamrolling, tom-heavy sound of Budgie, Gemma Thompson references John McGeogh's molten guitar parts almost to the note and, most obviously, singer Jehnny Beth does a spirited karaoke impresh of our Siouxsie throughout. If you're going to ape a classic record or line-up, you could do a lot worse than Juju-era Banshees, and this is confidently written and performed stuff, with slick production from Johnny Hostile and Rodaidh McDonald that makes the band sound radio/crossover-viable without letting too much light in. The album has two settings - pounding motorik goth-rock and maudlin monochrome power-balladry; it takes itself awfully seriously, a rare and pretty laudable quality these days, but unfortunately its aura is pricked by some embarrassing lyrics and an all-pervading stink of retro - a sense that you've heard it all before. Still, there are some decent songs - 'Waiting For A Sign' sounds like Jeff Buckley backed by The Birthday Party at their most skag-sick, and guitar-free instrumental 'Dead Nature' is a diverting slice of mortuary ambience.
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