The Sexual Life of the Savages

The Sexual Life of the Savages
Compilation album by various artists
Released 2005
Recorded 1980s
Genre Post-punk
Label Soul Jazz
Producer Bruno Verner, Eliete Mejorado

The Sexual Life of the Savages (subtitled Underground Post-Punk from São Paulo, Brazil) is a compilation album produced by Bruno Verner and Eliete Mejorado (the components of avant-garde music duo Tetine), and released in 2005 by British record company Soul Jazz Records. It contains a collection of songs from various artists that formed the São Paulo post-punk movement of the early 1980s. The album's name is an allusion to a verse of the song "Nosso Louco Amor" by Gang 90 e as Absurdettes, one of the bands present in the compilation.

Depicted in the album's front cover is Patife Band's frontman Paulo Barnabé.

Track listing

No. TitleArtist Length
1. "Inimigo"  Mercenárias 1:27
2. "Pânico"  Mercenárias 1:53
3. "Sobre as Pernas"  Akira S. e as Garotas que Erraram 4:37
4. "Swing Basses Series I (Eu Dirijo o Carro-Bomba)"  Akira S. e as Garotas que Erraram 1:12
5. "Rock Europeu"  Fellini 3:44
6. "Jack Kerouac"  Gang 90 e as Absurdettes 4:29
7. "Samba do Morro"  Chance 4:31
8. "Poema em Linha Reta"  Patife Band 2:03
9. "Teu Bem"  Patife Band 3:43
10. "Borboleta Psicodélica"  Gueto 3:02
11. "Madame Oráculo"  Nau 2:55
12. "O Striptease de Mme. X"  Chance 6:01
13. "Fora Daqui"  Smack 3:00
14. "Mediocridade Afinal"  Smack 4:03
15. "Zum Zum Zum Zazoeira"  Fellini 5:35
16. "Ilha Urbana"  Muzak 3:20
17. "Tão Perto"  Cabine C 2:33
18. "You Have Gone Wrong"  Harry 5:08

Critical reception

Professional ratings
Review scores
SourceRating
PopMatters7/10[1]
Pitchfork7.8/10[2]

The album received positive reviews. Scott Hreha of PopMatters stated: "If there's one drawback to the disc as a whole, it's the relative transparency of many of the bands' inspirations, which doesn't diminish its importance as much as it makes for an entertaining critical exercise". Hreha also praised the album's "remastered sound" and "availability", noting that "most of this music was recorded for independent labels that have long since folded".[1] Pitchfork critic Nitsuh Abebe wrote that the album "doubles up tracks on key artists and feels mixed for continuity". Abebe further stated: "It kicks off with its most accessible pop and then swings, as befits a Soul Jazz product, into a midsection that piles on the funk".[2]

Personnel

Technical personnel

See also

References

  1. 1 2 PopMatters review
  2. 1 2 Pitchfork review

External links

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