Daft Punk emerged from France’s famous class slowly but surely.  Stardust set the standard declaring “Music Sounds Better  With You.”  Air caught fire by slowing down and retrofitting the sound on Moon Safari.  A handful of others scattered across the electronic sky like digital fireworks catching the attention of everyone before disappearing back into zeroes.  Daft Punk was first on the scene and will likely be the last.

Prepare yourself for the hype surrounding this London all-female quartet.  The Savages‘ debut Silence Yourself is most thrilling post-punk album since Interpol returned us to the icy age with their initial transmission Turn On The Bright Lights.  Like that album, Silence Yourself takes the familiar components of inspiration and deconstructs them.  For example, “City’s Full” features that Joy Division-ian gallop drenched in U2-ish effects but manages to use its choppy lyrics to construct a work of minimal modern architecture.  Singer Camille Berthomier (under the headline-ready pseudonym Jehnny Beth) combines the striated vocal affectations of Paul Banks with the wavering wail of Patti Smith.  Swerving between a wall of noise and chilling silence, Savages reductively could be pigeonholed as Sleater-Kinney fronting Joy Division.