Last year, London femme four-piece Savages bent ears with their mighty debut, Silence Yourself. A maelstrom of Gang of Four–style post-punk funk and terse, headstrong lyrical content, the record was built on solid starting points, but sounded brash even amongst the been-there-done-that climate of the 21st century. Not ones to rest on their heels after garnering a wealth of plaudits, the band has remained active, repeatedly taking to the road since the debut’s release.

Further proof of that restless attitude came last month with the release of Fuckers (Matador Records/Pop Noire), a two-song EP comprised of live versions of the title track and a cover of Suicide’s “Dream Baby Dream.” The A-side, a song that was composed at the same time as Silence Yourself, and though left off the album, has occupied the closing spot in Savages’ live sets, is 10 minutes of ever-mounting catharsis. At its onset, it has a hymnal quality, but as singer Jehnny Beth intones, “Don’t let the fuckers get you down,” it is clear that any sense quietude is soon to be disrupted. And it is. Two and a half minutes in, the guitars are let loose, kicking up sonic dust over the groove of the rhythm section. Beth continues her mantra between verses like, “You can fight until you’re dead. Don’t let them walk upon your head,” epitomizing defiance in every syllable. Vocals are put aside halfway through, the song blossoming into a tsunami of repetition and swirling guitars before fading out into applause. (For further examination, check out the video.)

“Dream Baby Dream,” a song that has been covered frequently by everyone from Bruce Springsteen to Black Tambourine to Neneh Cherry, is on the flipside and is perhaps most extraordinary for being a fairly straight reading of the cut. Like its A-side accompaniment and the original, the track is built on repetition. But whereas Suicide’s version is stark and full of harsh contrast, Savages imbue the song with a warmth that compliments its lyrical content. Beth gives the right amount of soul and somnolence, while musically the band allows the song to teeter on the edge of something more violent. This balancing act provides the tension that was more overt in the original, and the fact that they never fully erupt only adds to its power. As a whole, this little record is further proof of Savages being a tour de force of which to be ever mindful.