Savages - Adore Life - 2015 Post Punk and Rock - Sealed LP

Savages - Adore Life

Label: Matador – OLE-1076-1, Pop Noire – OLE-1076-1
Format: Vinyl, LP, Album
Country: UK, Europe & US
has insert
Released: 22 Jan 2016
Genre: Rock
Style: Post-Punk, Alternative Rock


Tracklist
A1 The Answer
3:30
A2 Evil
3:36
A3 Sad Person
3:48
A4 Adore
5:03
A5 Slowing Down The World
4:00


B1 I Need Something New
4:38
B2 When In Love
3:10
B3 Surrender
3:24
B4 T.I.W.Y.G.
3:08
B5 Mechanics
5:08


Companies, etc.
Recorded At – RAK Studios
Recorded At – Pop Noire Records Studio
Mastered At – Metropolis Studios
Published By – BMG Rights Management (UK) Limited
Copyright (c) – Ayşe Hassan
Copyright (c) – Fay Milton
Copyright (c) – Gemma Thompson
Copyright (c) – Pop Noire
Phonographic Copyright (p) – Ayşe Hassan
Phonographic Copyright (p) – Fay Milton
Phonographic Copyright (p) – Gemma Thompson
Phonographic Copyright (p) – Pop Noire
Pressed By – GZ Media – 137554E


Credits
Band [Savages Are] – Ayşe Hassan, Fay Milton, Gemma Thompson, Jehnny Beth
Bass – Ayşe Hassan
Drums – Fay Milton
Engineer – Richard Woodcraft
Guitar – Gemma Thompson
Layout, Design [Logo Design] – Craig Ward (4)
Lyrics By – Jehnny Beth
Mastered By – John Davis (4)
Mixed By – Anders Trentemøller*
Photography [Cover Photograph] – TIM
Producer – Johnny Hostile
Songwriter, Performer – Savages (2)
Vocals – Jehnny Beth
Notes
Gatefold sleeve. LP includes an MP3 download coupon.
The first 200 LP orders included a signed poster.

All tracks recorded at RAK Studios, London, in April 2015.
Mixed in Copenhagan.
Mastered at Metropolis Studios, London.
Vocals for The Answer, Adore, When In Love, T.I.W.Y.G. and Mechanics recorded in the Pop Noire studio in Paris.

All songs published by BMG Rights Management UK Ltd, a BMG Chrysalis Company / Pop Noire.
© 2015 ℗ & © Hassan / Milton / Thompson / Pop Noire (Beth)
Under exclusive license to Matador Records 2015.

Track durations not listed on release.
Barcode and Other Identifiers
Barcode: 744861107613
Matrix / Runout: OLE-1076-1 137554E1/A
Matrix / Runout: OLE-1076-1 137554E2/A



This four member, all female band from London plays for real. They rock hard with a vehement, passionate sincerity. Their message, like their music, is direct and to-the-point, nothing held back. If you don’t like what they say or how they sound, you’re in the wrong place, wrong time. You may need to take a Belle & Sebastian break, ‘cause this one is not for the lighthearted. Somehow, they pull this all off with a perceptive and literate sense of class and self-awareness. The music wraps around the lyrics like a sensitive & savage lover, with all the sharp and chunky angularity of real life. The power of the songs arises from a natural explosion of punk energy that compliments the melody with a raging, penetrative intelligence. The effort that goes into writing, composition & arrangement is obvious—and it pays off. I’m often reminded of the uniquely feminist punk band Au Pairs, whose jagged guitar sound referenced early Gang of Four.

Amid opener The Answer’s foaming switchbacks, Jehnny Beth trills gleefully, “If you don’t love me/You don’t love anybody!”, before hurling herself on top of the emotional barbed wire. There are sing-alongs (“You are, you are/A sad, sad person”) and at times it gets deliciously silly, such as When In Love where Beth demands “I want your fingers down my throat” despite having already decided “I hate your taste in music.” She sounds like Piaf on poppers, like she’s enjoying herself; it suits her, and the feeling is mutual.

In this song, as elsewhere, the psychotic blues of The Gun Club is a key reference point, further indication of the nouveau grave straitjacket unlacing. Perhaps most surprising is how frequently Savages recast their instinctive melodramatic stampede over the album’s 10 tracks – Adore is a pathos-sodden lighters-out anthem worthy of Patti Smith; T.I.W.Y.G. (“This is what you get when you mess with love”) powers on Ayse Hassan’s shredding bassline – to the extent where even Beth’s smouldering oath on closer Mechanics (“When I take a man to sleep over/Pain and pleasure will touch my hand”) successfully navigates the hairline betwixt credulity and farce.