On “I Am Here,” Beth growls “I am shouldering you/ This is easy…/ Are you coming for the ride?” over a riff straight out of a certain Queens of the Stone Age’s song, sans stuttering cocaine reference. Silence Yourself plays on the same themes of entrapment, empowerment, and erotic energy. In the face of the most sacred bond between man and woman, everything suggests - no screams for - a decoupling. That last word, shrieked over and over again until you realize the true nature of Beth’s estrangement this is someone she knows. Everything about the song seeks to expel you, including the chorus: “God I want to get rid of it/ Get rid of it/ My house, my bed, my husbands.” And there it is. “Husbands” spirals through a frantic, claustrophobic guitar riff before devolving into excoriating barbs of noise at the end of each bar, an ideal backdrop for Beth’s visceral distaste at waking up beside a man she doesn’t know. In February 2012, the band’s stark, electrifying concert performance of “City’s Full” hit YouTube, accompanied by a link to pre-order double A-side single “Flying To Berlin”/”Husbands.” Since then, the buzz has grown exponentially for Savages, a project originally conceived as an outlet for French-born singer Jehnny Beth’s “more violent” songwriting urges and named after the societal regression described in Lord of the Flies and other apocalyptic fiction read by guitarist Gemma Thompson while growing up.
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