Silence Yourself

  • Record Label: Matador
  • Release Date: May 7, 2013

Universal acclaim - based on 36 Critics

Critic score distribution:
  1. Positive: 33 out of 36
  2. Negative: 0 out of 36
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  1. Oct 3, 2013
    On the London quartet's debut Silence Yourself, the group whips up a storm of aggressive rhythms, strident vocalizing, and six-string sheen as if the succeeding pop trends never happened and Gang of Four and Siouxsie & the Banshees rule the charts.
  2. 80
    Ultimately, Silence Yourself is eleven songs of balanced, well-constructed rock music.
  3. Uncut
    May 24, 2013
    A disappointing triumph of retro-goth style over substance. [Jul 2013, p.80]
  4. May 23, 2013
    Not content to simply cop post-punk aesthetics, these East London dread merchants are steeped in the sort dystopianism and apocalyptic anxiety that drove the likes of Killing Joke and The Banshees to such dizzying heights of foreboding.
  5. May 21, 2013
    Their obvious musical talent and distinctive voice make Silence Yourself an uncompromising and very enjoyable paean to individual agency.
  6. Mojo
    May 20, 2013
    Silence Yourself demands you shut up and listen. Compliance is advised. [Jun 2013, p.87]
  7. May 15, 2013
    Silence Yourself is more than just this year’s best debut record so far and even more than one of the best records of any kind this year. It could be the closest post-punk has come to full-bodied artistry since Interpol took their own post-punk influences and gave us Turn On The Bright Lights all those years ago.
  8. Q Magazine
    May 13, 2013
    Savages are still best viewed in the wild, then, but Silence Yourself documents a spirit and passion that could never be background music. [Jun 2013, p.98]
  9. May 9, 2013
    he band has already built a mystique with their live show (frontwoman Jehnny Beth’s penetrating glare and righteous wail transfixed a packed Horseshoe Tavern at this year’s CMW), but Silence Yourself proves they’ve got the songs to back it up.
  10. May 9, 2013
    While frontwoman Jehnny Beth’s theatrics take up most of the listener’s attention, it’s the rhythmic duo of drummer Fay Milton and bassist Ayse Hassan that keeps the band on track
  11. Since Savages have cultivated such a politicized aesthetic, it’s hard to divorce the concept behind the art from the art itself, but Silence Yourself delivers if you are willing to submit to its unflinching authority.
  12. 91
    Savages’ smart reorganization and shuffling of punk, post-punk, krautrock, and noise music into something brutal, jarringly confrontational, and completely singular is a breath of fresh air and an unignorable statement of power and resistance.
  13. May 7, 2013
    Silence Yourself evokes very real sensory and emotional connections, leaving it up to you to get something out of it.
  14. As with some modern art, you may find Silence Yourself leaves you whispering, “I appreciated it, but I didn’t love it.”
  15. May 7, 2013
    This juxtaposition of dissonance and beauty adds more friction to Silence Yourself’s atmosphere, transforming a potentially monochromatic record into something with intriguing depth.
  16. May 7, 2013
    The precedent is clear: Eighties post-punk, particularly the bony-riff geometry and dublike shadows of Killing Joke and early Siouxsie and the Banshees. So is the freshened, visceral impact.
  17. May 6, 2013
    The album doesn't quite match their punishing live show, but neither does it betray their purpose or message: to fiercely silence the white noise of psychosocial oppression. It is one missive they convey without ambiguity.
  18. May 6, 2013
    In some ways Silence Yourself doesn't provide the full Savages experience, but it offers more than enough to make it a powerful debut that suggests they'll become an even more distinctive force to be reckoned with over time.
  19. 80
    Recorded live in the studio rather than piecemeal, Savages’ debut album Silence Yourself sees the band completely locked in with each other.
  20. May 6, 2013
    The album could’ve easily done without the first two [moodier pieces], and been even better for it. No matter. Silence Yourself is still a disquietingly brilliant debut.
  21. May 6, 2013
    The album is stunningly crafted; their influences (Joy Division's mystic menace, Siouxsie Sioux's gothic howls) are proudly worn on blackened sleeves, but rather than dance around such matters, they dance with them.
  22. May 6, 2013
    The album cuts through a world of chatter and distraction because it practices what it preaches, transmitting its message directly through the primal, bone-rattling force of its songs.
  23. Post-millennial indie boy-rock has taken a savage beating here. And it may prove the best it’s ever had.
  24. 60
    Silence Yourself reveals Savages to be a cross between the Horrors (fondness for black, allegiance to art-rock, time spent in Dalston) and Sleater-Kinney (devotion to Wire, lack of male members, stentorian vibrato) with a soupcon of the Knife (fondness for manifestos, tribal beats, forbidding glee).
  25. May 6, 2013
    With one foot in the here-and-now and the next already stepping into the future on Silence Yourself, Savages are not only making the statement that they are here, but that they are here to stay.
  26. 90
    Savages own a gravitas, a brooding confidence and effortless cool, that no matter how cynical or wary of pretentiousness you are, will be suck you in.
  27. 80
    While they make no claims to be a wildly original band--they listen to Black Sabbath and they have been described as the all-female Joy Division--what makes them so compelling is their fierce focus.
  28. May 3, 2013
    This is anarchic, itching punk at its most primal, most belligerent.
  29. May 3, 2013
    Silence Yourself is the manifestation of a formidable spirit, a sense that everything they do is done with great purity of intent, and a brilliant sex, life and death album of a kind rarely seen these days.
  30. May 3, 2013
    A complete lack of compromise anywhere. Yet, whilst that means that it takes a few listens for the intricacies to fully come through (alongside stormy brooder ‘Strife’, early single ‘Husbands’ is still the most sonically independent offering here), it fundamentally endows the record with a clarity of vision that justifies all the hyperbole.
  31. May 2, 2013
    The debut from London quartet Savages burns with a feverish sense of purpose: the sheer intensity with which She Will or City's Full are delivered is breathtaking.
  32. May 1, 2013
    Amply weighted for a debut, Silence Yourself comprises a balance of really excellent stuff and the simply very good.
  33. 80
    This four-woman English band has rekindled the post-punk of the late 1970s, with music that’s stark and overpowering.
  34. May 1, 2013
    There is a modern, angry masterpiece in here--just skip the manifesto.
  35. May 1, 2013
    This album is about taking control back. It does it with conviction and vigour, with squalling guitars and wiry bass lines.
  36. May 1, 2013
    Silence Yourself may not invent a genre. Silence Yourself may not give you something you didn’t have already. But it is so stark, so bold and delivered with such utter belief that you wonder why anyone would possibly care.
User Score

Universal acclaim- based on 68 Ratings

User score distribution:
  1. Positive: 7 out of 7
  2. Mixed: 0 out of 7
  3. Negative: 0 out of 7
  1. Feb 16, 2014
    Silence Yourself is a loud, angry, restless album that does keep itself horrendously short of more subtle, relieving sound, but it is on theSilence Yourself is a loud, angry, restless album that does keep itself horrendously short of more subtle, relieving sound, but it is on the other hand an immensely enjoyable album when you're in the right mood for it. The Savages take hold of their influences, and smash them into a rearing collection of songs with a clear similarity but also with fresh, exciting intentions of their own. Full Review »
  2. Oct 19, 2013
    I love this album because I like that fact that this band have a unique alternative post punk style, the are cut from a different cloth,AI love this album because I like that fact that this band have a unique alternative post punk style, the are cut from a different cloth,A pitch black cloth in fact, as what they always dress in for their live shows, and their songs to me are unlike any other band around, Live they are Incredible!!, seen them twice live, Strange and beautiful girls, who are masters of Music that make you feel like you need to do something new and different, urgently. Positive vibes.Favorite track is 'City's full', but with so many highlights in this Album, my best highlight of this album is the Bass-line into into the song 'Husbands'. Full Review »
  3. Sep 23, 2013
    Oh che bello il post-punk. Che bello fu davvero, e le quattro ragazze a nome Savages non fanno nulla per nascondere quale sia la loro fonte diOh che bello il post-punk. Che bello fu davvero, e le quattro ragazze a nome Savages non fanno nulla per nascondere quale sia la loro fonte di ispirazione. Già lo annuncia la copertina in bianco e nero, banda bianca a sinistra e foto in primo piano del gruppo con i soli volti a emergere sul buio fondale. La musica non da meno, grazie alle notevoli linee di basso di Ayse Hassan (non un caso che sia il primo strumento a farsi sentire) che si snodano su di un suono nervoso e violento che riporta dritto dritto al 1979 o giù di lì: le ritmiche sono all’offensiva (alla batteria Fay Milton), le chitarre (Gemma Thompson) graffiano a fondo e d’ogni tanto si lasciano andare a distorsioni distrurbanti, la voce (Jehnny Beth, unica francese in compagnia di tre londinesi) rievoca Siouxsie ma con un’arrabbiatura alla Patti Smith. I quaranta minuti di durata (di più sarebbe stato troppo) non lasciano riprendere fiato perché tra gli assalti all’arma bianca si intrufolano pochi brani meno veloci, ma che alla fine si rivelano ancor più inquietanti e meno facili all’ascolto: ‘Strife’ ‘Waiting for a sign’ iniziano cupamente rallentate e si concludono in un fragoroso rumore di chitarra mentre un sassofono che fa tanto no-wave suggella la chiusura, in avvio semiacustica tra pianoforte e spazzole, di ‘Marshall dear’. Per il resto, l’apertura di ‘Shut up’ (introdotta da un frammento di un film di Cassavetes, ‘Opening night’) annuncia l’atmosfera del disco, secca e brutale, con la voce urlata della cantante e l’incalzare poderoso degli strumenti: ricetta ripetuta più volte riuscendo però a introdurre sempre piccole variazioni che allontanano qualsiasi sensazione di noia o ripetitività. Se per ‘City’s full’ si può prevedere un discreto futuro da inno seppur sotterraneo il ritornello martellante ma più accessibile sembra costruito apposta ‘I’m here’ e ‘No face’, per non parlare dell’isterico frammento di ‘Hit me’, mettono in mostra il lato più diretto che porta le sei corde a lambire qua e là i territori metallici di ambito thrash. Solo una piccola deviazione, peraltro, dall’impostazione principale, confermata anche dal breve strumentale ‘Dead nature’, che si muove poco rassicurante fra suoni cavernosi, ma solo in qualche momento troppo aderente al modello; laddove la derivazione forse più evidente sta nel riff epicheggiante che contraddistingue il singolo ‘She will’, così vicino a ‘Love will tear us apart’ anche se poi il brano va a parare da un’altra parte. Va però detto che il tipo di suono a cui si affidano le Savages non che vada granchè di moda al giorno d’oggi: una musica senza fronzoli con testi senza fronzoli e titoli altrettanto (i ritornelli ossessivi come in ‘Husbands’, i primi due brani che si intitolano ‘Shut up’ e ‘I’m here’ e leggerli di fila fa un certo effetto), che trasmettono una grande energia capace, con le buone o con le cattive, di catturare l’attenzione. ‘Silence yourself’ si rivela così un lavoro di debutto davvero notevole e le sue atrici un gruppo assai interessante per il futuro, a patto che abbandonino, almeno in parte, l’aria seriosa mettendoci un po’ di senso dell’umorismo. Full Review »