Though many in the current wave of post-punk revivalism have done well to bring the genre into the modern era, infusing a modicum of sophistication and even touches of lightheartedness, few have truly captured the unhinged and primal energy that first defined it. Enter Silent from Mexicali, Baja California, with Modern Hate marking the band’s sophomore full-length release and picking up right where A Century of Abuse left off five years prior. With confrontational lyrics that address the tumultuous state of the world from both a social and an individual standpoint, vocalist Jung Sing howls and wails with the kind of fervor rarely heard outside of Killing Joke’s Jaz Coleman, although perhaps without the throaty rasp; coupled with Alex Lara’s seething, biting guitar tone, the sharp simplicity of his riffs, and the bittersweet resonance of his lead melodies, and songs like “It Follows,” “Trust No God,” “and “The Witness” scream with dissonant fury. “A New Slave” is especially memorable with its grinding and growling tonality and the subtle layers of Sing’s vocals to add depth to his range, his tasteful use of vibrato working well with the shrieks of guitar feedback and pickup noise; the same can be said of the monolithic “Hands On the Wall” as its creeping rhythms create a penetrating atmosphere by way of Rodo Ibarra’s thrusting, steely bass groove and Rocio Chevez’s powerful tribal drumming. Other songs like “Empty Spaces,” “No Heaven,” and especially “Death is Not an Option” are sure to transport listeners back to the late ‘70s and the early ‘80s when Bauhaus, Siouxsie and the Banshees, and The Cure were expressing their own bleak apocalyptic fears, while the ominous and droning “Erased” provides something of an industrial interlude with stony and metallic rumbles and cavernous ambience. Silent is anything but on Modern Hate, the album serving up an unrelenting and voluminous barrage of raw sound and manic energy that is sure to put many ill-at-ease… but then, that’s what post-punk and goth/rock was supposed to do, and there is something very pure about Silent’s approach focusing plainly on the dark narrative of a world gone mad.