Posts Tagged ‘Savages’

Savages summer tour

In this concert video, filmed in March before a sold-out crowd at the 9:30 Club in Washington D.C., the London band Savages is by turns tender and ferocious as it showcases tracks from its latest album, “Adore Life”. But it cannot be understated that Savages’ lead singer Jehnny Beth is a revelation: Even as she challenges the audience to match the group’s energy from every corner of the stage — as well as catapulting herself onto the audience at one point — it’s Beth’s emotional, life-affirming lyrics that leave the strongest impression.

Savages had spent the first half of 2016 touring in support of their new album, Adore Life, and if you’ve seen any of those shows, you know just how intense an experience that is. If you haven’t, however, NPR Music is now offering a special broadcast of a live show in Washington, D.C. Shot in March at the 9:30 Club in Washington, the concert video finds the band tearing through songs from their new album and its predecessor, 2013′s Silence Yourself. It’ll make your morning just a little more exciting. Watch the full Savages live set below.

SET LIST:
“I Am Here” — 0:54
“Sad Person” — 4:21
“City’s Full” — 8:21
“Slowing Down The World” — 12:28
“Shut Up” — 16:24
“She Will” — 20:29
“Husbands” — 24:27
“Surrender” — 28:43
“Evil” — 34:34
“When In Love” — 38:53
“I Need Something New” — 41:45
“The Answer” — 46:36
“Hit Me” — 50:50
“No Face” — 57:18
“T.I.W.Y.G.” — 01:01:17
“Mechanics” — 01:05:19
“Adore” — 01:12:59
“F******” — 01:21:36

Jehnny Beth was the formidable and mysterious leader of Savages’ flinty monochrome attack, remoulding stark post-punk into gender-fluid shapes. Retiring the band after two Mercury-nominated albums, and returning to France after more than a decade of self-discovery in London, this solo debut is the product of an intense period of self-reflection, softening the carapace of her English persona to ponder innocence and rustic roots.

Beth’s friend PJ Harvey laughingly dismissed her poetry as “terrible”, and even Cillian Murphy’s spoken-word turn can’t redeem some po-faced portentousness, or a chilly air of theory familiar from French erotic provocateurs such as Catherine Breillat. Mostly, though, Beth digs deeper, building an artistic identity capable of both transgressive rampages and introspective quiet.

Ambivalence is constant, as she plays with guilt and pines for innocence. “We Will Sin Together” suggests Jean Genet-like underworld adventures beyond good and evil, but allows for simple, lusty pleasure (“All I want is your sexy eyes/Your legs parting to the skies”). “Flower” is a breathily shivering ode to an LA stripper, delicate falling leaves of guitar adding grace to its electro glide. The thrusting cyber-swagger of “I’m the Man” dives deepest into Savages territory, only to make a startling feint into Seventies boudoir balladry, like Barry White gatecrashing The Prodigy. Even cocky humour slips in, when the elusive feminine Pimpernel of “Heroine” insists: “All I want is some good use of my great body.”

Beth’s rediscovery of her schoolgirl studies in jazz piano and literary bent both pay off in “The Rooms”, an enigmatic vignette of secret erotic exchanges with a heavy, languid atmosphere of French provincial shadows. “The French Countryside” is a limpid piano ballad, wide open to romantic ecstasy and the past. While retaining steely strength this is a fuller self-portrait, warmed by flesh and blood, remembered family and love.

‘Flower’ comes from Jehnny Beth’s debut solo album ‘To Love Is To Live.’
The album will be released June 12th

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Savages lead singer Jehnny Beth has shared her latest single “Innocence,” from her forthcoming debut solo record “To Love is to Live”. “Innocence” follows her previous singles “Flower” and “I’m the Man,” and it also comes with a new video featuring live footage from a rehearsal. The album release date was pushed back June 12th (via Caroline Records), and the decision was made due to Beth’s desire to support independent record stores.

“Record stores are where I found myself as a teenager, digging through albums that ultimately shaped who I have become,” Beth says. “To release my first ever solo album in a way that would leave them out felt wrong to me; luckily, we were able to find a date that would allow us to release the physical and digital album at the same time.”

“Innocence” opens with bold, pitched-down vocals and bare percussive stomps before Beth grabs the reins, railing against the romanticism of urban utopias. It’s a slightly hair-raising ode to alienation and loneliness, cloaked in Beth’s trademark jet-black smoke and spellbinding presence.

To Love is to Live, was recorded in Los Angeles, London, and Paris, and it features a number of big names like producers Flood, Atticus Ross and longtime co-creator Johnny Hostile, plus The xx’s Romy Madley Croft, actor Cillian Murphy, and IDLES’ Joe Talbot.

Beth will also release her first book, Crimes Against Love Memories (C.A.L.M.), a collection of erotic short stories and photography, in July via White Rabbit.

‘Innocence’ comes from Jehnny Beth’s debut solo album ‘To Love Is To Live.’ The album will be released May 8th

For the past nine years, Jehnny Beth has been known as the frontwoman of the ferocious post-punk band Savages  a live wire with a slick pixie cut and arresting onstage persona. When she made the decision to make a solo album in 2016, she was warned it was “a big mistake.” It proved to be exactly the encouragement she needed.

“When people are telling you that you’re making a mistake, it’s usually because you’re seeing something that they haven’t seen yet,” she said following her workout at a boxing club in West Hollywood.

Minutes earlier, sweat poured from her short, black hair as she cursed a final set of burpees. Although she’s based in her native France, Jehnny Beth discovered boxing in 2018 while working in Los Angeles on what turned into her solo debut, “To Love Is to Live,” due May 8th, and toying with a role in an action movie, which she eventually turned down.

“Boxing is the closest thing I have to the stage,” she explained, as she slid a collection of spiky silver rings back on her fingers. “It’s the closest I am to the physical intensity, the adrenaline, the fear.”

Jehnny Beth (real name: Camille Berthomier), 35, has performed live only twice since July 2017, when Savages concluded a world tour in support of their second album, “Adore Life.” As the band’s lead singer, she was as tender and angry as a bruise, delivering songs with an alluring intensity that earned comparisons to Ian Curtis and P.J. Harvey. She called Savages — which features the guitarist Gemma Thompson, the bassist Ayse Hassan and the drummer Fay Milton — “a gang against the world.”

Romy Madley Croft of the English indie-pop trio the xx, was a close friend, recalled the power of seeing Savages for the first time at Coachella in 2013. “Jehnny transported me,” Madley Croft said in a interview. “I was in the desert in the middle of the afternoon, but I felt like I was in a dark club.”

“I never really wanted to give a statement about Savages and if we’re coming back,” Jehnny Beth said, her accent a mellifluous blend of French and British. “If I feel like I want to do a punk record again, I’ll probably do it with Savages. It’s a great band with a soul, and that’s quite rare.”

Jehnny Beth hadn’t planned to branch out on her own. She was startled into action in January 2016, when she woke up in the middle of the night and learned that David Bowie had died. She stirred her longtime partner and producer, Johnny Hostile, and the pair stayed up until morning listening to Bowie’s final studio album, “Blackstar.”

“‘Blackstar’ had a huge influence in terms of reminding me how an album can be a testament, an imprint of your vision of the world, and it will last longer than you will,” she said. It inspired her to work on the solo album “as if I was going to die.”

“To Love Is to Live” is an eerie, almost cinematic experience, partially inspired by Spike Lee’s “25th Hour” and French noir films, and helped along by Johnny Hostile, who projected scenes from movies, including “Dunkirk,” on the walls of the studio as they wrote — a technique he employed while helming both Savages albums.

Jehnny Beth also tapped the producer Flood (U2, New Order) and Nine Inch Nails’ Atticus Ross to give the album an intriguing sonic dissonance. Its first single, “I’m the Man,” opens with a gentle recitation of Jehnny Beth’s poem “A Place Above” by the “Peaky Blinders” star Cillian Murphy (“See the most powerful man raise his hand to tell us a lie/No, no, not another lie”) before exploding into a full-blown electronic assault.

Madley Croft, who helped write two of the album’s songs and served as a sounding board, praised Jehnny Beth’s genre experiments, which include android vocal stylings, melancholic saxophones and a piano ballad. “You get to know her a lot more on this album,” Madley Croft said. “I’m really glad she’s harnessed that energy from Savages, but I could see that there was so much stuff in her mind that she wanted to get out.”

The night after her boxing workout, Jehnny Beth drove us in her rented black Mustang to join her friend and sometimes-collaborator Nick Zinner, of the Yeah Yeah Yeahs, at their favorite haunt, Jumbo’s Clown Room, a no-nudity bikini bar in Hollywood where a prestardom Courtney Love used to pole dance. The two musicians frowned at a group of guys flicking balled-up dollar bills at one of the women, and over a glass of seltzer (she no longer drinks alcohol), Jehnny Beth explained that the album’s centerpiece “Flower” was written for one of the bar’s regular performers. The track’s lyrical agony is worthy of Anne Sexton, and the sultry thrum of the chorus — “She loves me and I love her/I’m not sure how to please her” — recalls Portishead’s 1994 masterpiece “Dummy.”

“I really wanted to do a love song for a woman,” said Jehnny Beth, who is bisexual and said she had difficulty expressing her desires when she was younger. “To me, women were in the distance,” she added, “so it’s been liberating to write about them.”

Growing up in Poitiers, a city in western France, Jehnny Beth learned English by singing jazz standards performed by Billie Holiday and Jane Baker. At 10, she introduced more contemporary music into the household, becoming an ardent fan of the band Placebo. Once, at a concert, she threw a treasured copy of “The Picture of Dorian Gray” at its frontman, Brian Molko, accidentally hitting his guitar. He chastised her from the stage, a detail that made it into several newspaper articles, all of which she saved.

Jehnny Beth met Johnny Hostile in her early 20s, through mutual friends. The unorthodox “h” in Jehnny is intended as a mirror reflection of Johnny (real name: Nicolas Congé). She moved to London with him, despite her parents’ warning that she was making a mistake, and the pair have been writing music together ever since, beginning in 2006 with their lo-fi indie collaboration John & Jehn.

Jehnny Beth even came to Savages via Johnny Hostile, who had been invited to start a band by Gemma Thompson. With the group on an unspecified hiatus, she has continued to evolve into a multi-hyphenate talent. “I was Jehnny Beth before Savages,” she added. “I always knew I was going to do other things.”

In February, she will host a TV talk show called “Echoes With Jehnny Beth” for a European channel that will expand the idea of her Beats 1 radio program, “Start Making Sense,” by prompting conversations between musical guests. In June, she will release a book of erotic short stories that began as a poetry collection before she made the rare decision to heed a critic. “Polly Jean Harvey told me my poetry was awful,” she said and laughed.

“I like doing things that are scary,” she added, and credited boxing for helping her make brave career choices. “Once you take a step, in spite of your fear, you realize: This is not how I imagined it would be, but it’s exactly how I want it to be.”

Savages’ Jehnny Beth shares new track ‘I’m The Man’

Earlier this year when Peaky Blinders was in full swing. The brilliant Jehnny Beth, of Savages fame, used the show’s soundtrack to debut a snippet of new material, and now she’s shared the whole track.

A blistering offering, ‘I’m The Man’ is the second solo work to come from Jehnny Beth, with the first being her soundtrack for the Chelsea Manning documentary, XY Chelsea.

“‘I’m The Man’ is an attempted study on humankind,” Jehnny says, of the track, “what we define as evil and the inner conflict of morality. Because it is much easier to label the people who are clearly tormented by obsessions as monsters than to discern the universal human background which is visible behind them. However, this song has not even a remote connection with a sociological study, collective psychology, or present politics; It is a poetic work first and foremost. Its aim is to make you feel, not think.”

The track also lands ahead of her new new television show, ECHOES, which is set to air later this year.

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Johnny Hostile chose Camille Berthonier, better known as Jehnny Beth, and even better known as a singer of the band Savages. A collaboration that makes sense because who knows Johnny better than Jehnny artistically? Already together in London in the 2000s, they compose many soundtracks for Chanel. An intimate piece illustrated by immersive shots, worthy of an experimental documentary.  ‘xy chelsea’ the film about Chelsea Manning for which Johnny Hostile and Jehnny Beth have composed the soundtrack will have its worldwide premiere at Tribeca Film Festival

extract from ‘xy chelsea’ original soundtrack ~ set to be release on June 7th,

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As the landscape of the film industry continues to be turned on its head, the rules of independent cinema have remained consistent in one key way: Make a movie that finds eyeballs and turns a profit, and you’ll get to make another—probably, with a bigger budget. After Moonlight, Barry Jenkins has a TV series and a James Baldwin adaptation on the horizon. Sean Baker, who shot his breakout Tangerine on iPhones, is receiving near-unanimous critical acclaim for his latest film, The Florida Project. With surprise success comes the opportunity for more. Nick Ebeling’s documentary on the star and his assistant, Satya de la Manitou, titled Along for the Ride. 

This EP is the first release of Bashan – the project of Gemma Thompson, guitarist of the band Savages. The tracks are formed as direct responses to the work of the painter Morris Graves – repetition, waves crashing against the cliff face, vertical drops and oncoming headwinds, sound guided by the currents.
released October 16, 2017 ,Written and recorded in Leipzig, Germany.
All music written by Bashan. Guitars performed by Gemma Thompson.
Percussion and Harmonium performed by Sam Sherry.

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Ebeling infuses the documentary with flashy artistic decisions to keep the viewer engaged—utilizing black and white cinematography, reenacted scenarios, and a consistent breaking of the fourth wall—but his wisest creative choice was in employing Gemma Thompson to score the film. With her main band, Savages, Thompson hammers her guitar, creating a blend of chaos and catharsis that is one of the chief catalysts for the band’s refreshing take on punk. With Along for the Ride, however, Thompson sheds this weight significantly, adding a haunting subtlety to the film that lingers long after the final credits roll.

Bashan

Gemma Thompson, perhaps best known for her work in British rock band Savages, is one of the most inventive guitarists of her generation. In performance, she can be seen wrestling her instrument with the kind of looseness that comes from having complete faith in her ability; her style is a delicate tangle of feedback, reverb, and ostinato. In Savages, her guitar leads are threaded together with her bandmates on bass, vocal, and drums to form structured rock ‘n’ roll songs. But her most recent experiments with sound have freed her from those constraints.

In a studio and at her apartment in Leipzig, Germany this past summer, Thompson spent several months experimenting with different guitar frequencies, with the goal of letting the sounds lead the songwriting. She wanted to find an audible way to describe landscapes, using the way it travels to represent different physical formations: cliffs, rocks, waves. The results of these experiments, recorded with her partner Sam Sherry of the band A Dead Forest Index, are presented as four unique compositions, written as complementary to one another. They offer a journey into the mind of an artist who’s passionate about finding new ways to interpret sound.

For Bashan—EP1Thompson took cues from several projects she’d recorded with Savages, as well as a film score she was asked to record for a documentary about Dennis Hopper. Using those as a launching pad, she set about to create something she wanted to listen to, that also reflected her desire to expand the scope of her work.

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Savages roared rock with class. These four female musicians based in London unleashed a racy style of music indeed, full of fever and tension .

The Franco-British training is carried by Jehnny Beth, who answers to the name of Camille Berthomier to the the French – some have also heard Jehn in duo John & Jehn -she shows an androgynous and cheeky look, in a perfect embodiment of the music of the quartet: elegant and fascinating, yet almost threatening.

Savages had caused a stir in 2013 with their debut “Silence Yourself” , an album of rare intensity. After recording during last summer the band released this year  new album “Adore Life”. For this session, the Savages fill the Studio 204 with all their aggressiveness. A private concert where the fire smoldering under the ice

filmed on 16/02/2016 – (31 minutes)

From arteTVconcert

Setlist:
Mechanics
I Need Something New
The Answer
Hit me
Adore

Adore Life

We have a lot of love for Savages. As forerunners in the recent renaissance in alternative music, they put themselves out on a limb while others lacked the courage to risk the fall. Their amazing live outings were mirrored by an inventiveness in their sound that lifted them head and shoulders above their contemporaries. Before they had recorded their first album, we had marked them as the best show in town and the release of the excellent Silence Yourself in 2013 only served to confirm this.

Thankfully, their pioneering approach became infectious and over the past few years a large number of fine new bands have emerged, leaving their erstwhile mentors in the strange position for young musicians of being veterans in a rapidly expanding field.
It has taken Savages a fair while to follow up on their debut; long gone are the days when artists would release a quality album every year and the four-piece appear not to have had much downtime in a hectic schedule. Perhaps this left them playing catch-up, for Adore Life bears the hallmark of a group keen to get new recordings out without perhaps taking the time to thoroughly explore the distant boundaries of the realm of possibility. The ten-track, thirty-nine minute collection is a punchy one, more capturing the live essence of Savages than embracing the spirit of exploration that helped infuse Silence Yourself with such delightful subtleties and daring. It’s almost brutal in its attack and, despite dropping in a couple of slower moments, the pressure is unlifting. Soundwise, there is no escaping the fact that Jehnny Beth sounds like Siouxsie Sioux and much of Adore Life could have come from mid-period Banshees, though Savages always wear fewer disguises and perhaps lack some guile. Gemma Thompson’s guitars crash and occasionally wail, but never take charge, leaving the voice dominant, and drummer Fay Milton probably added a few muscles in the record’s making but she is immersed in the assault rather than revelling in the opportunity to dance around it. On the other hand, bassist Ayse Hassan thrives in the record’s rumbustiousness and lays down some marvellous patterns that only underline her position as one of the great bassists of the modern era.

By no stretch of the imagination is this a bad record, but there is no escaping the faint feeling of disappointment that Savages haven’t taken things further; they haven’t pushed enough and always want to punch instead of cajole and allure. When they hit the spot on the shining ‘Slowing Down The World’, they sound untouchable and there are highlights throughout, but there is a little too much journeying going on without enough effort to take in the views.

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