Savage Sound System – Compromise Is Not Forgiven (NJMP3-0295)

The artwork for Compromise Is Not Forgiven, by Savage Sound System. Somebody needs to give this boy a truffle for that shuffle.

Artist: Savage Sound System
Title: Compromise Is Not Forgiven
Label: Noise-Joy
Cat#: NJMP3-0295
Keywords: Illbient, Dub, Post Rock, Avantgarde, Experimental
Reviewer: Alex Spalding

Another album from the Noise-Joy discography! This one’s a single with several remixes which 1st came out in 2007. The Savage Sound System were, from what I could tell at the time, some sort of art/music commune operating out of a few flats someplace in the U.K. but primarily comprised of artists Matt Preston and Alexis Beattie. As far as the music goes…

… ‘The Grind Behind’ is the title of the single, and the original is the 1st track here. It begins with a blast of noise and some tamborines, static and electronics. Soon, a sort of trashcan rhythm starts up while rhythm guitar and bass come in. The vocals… “rum and soda, another bad cola?” “one man’s soda’s another man’s cola?” I don’t know. It’s got a sort of post-punk funkiness to it, really cool vibes.

‘The Grind Xiangxing Situation’ is a remix by Xiangxing, which warps and stretches many of the original sounds of the track while adding a disjointed electro/IDM break and plenty of atmosphere. There’s a darkness to this remix, I feel like I’m being menaced by syrupy carbonated drinks at this point. The vocal mutations are a lot of fun close to midway through, Xiangxing scratches a bit or so it sounds. It’s like assfunk neo-electro. Sounds, like the guitar and dirty distort bass float in and out. Later the ambient feels come back, and you’re absorbed into them.

Next remix belongs to The Asthmatic Astronaut, which begins with tambourine sounds, several reversed vocals and percussive bits. Then we get a nice, smooth breakbeat and some low drone electronics, dark piano flourishes. Submarine tones echo into the mix and it feels like we’re cruising through space. The mutant vox make up the majority of the non-rhythmic sound profile of the music.

The final piece is the ‘BLH Lemix’ by Toshee. It begins much the same way as the original, at first, but expands upon the noise and soon adds much thicker, darker guitars, followed by absolutely mental drum dubs that are less on the Reggaeton side than IDM glitchpunk. This is probably the wildest of the remixes on here, but it gets a nice groove later on!

If you feel in the mood for something very definitely strange and surreal, as well as highly varied soundwise and kinda post-punk, totally check this one out. Gotcha link right ‘ere:

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