{"title":"Compilations","description":null,"products":[{"product_id":"jon-savages-1969-1971-rock-dreams-on-45","title":"Jon Savage's 1969-1971: Rock Dreams On 45","description":"\u003cp\u003e\u003cstrong\u003eUnlike the previous volumes in Jon Savage’s series of year-based 2CD compilations, which featured music from an expansive mixture of genres, this latest edition spans three years of 100% rock.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn the late 60s, British pop and youth culture began to fragment into tribes. There were many reasons for this: social class, economics, and events within the music industry itself. The success of the Beatles’ “Sgt Pepper” confirmed the primacy of the album over the single for the smart end of white pop, which was undergoing a prolonged dalliance with psychedelia and the drug culture. Hard mods disdained this trend, cleaving closer to the soul, Motown and Jamaican music that they danced to. 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An ever-increasing public awareness of both the vast brutality and absolute futility of the Vietnam War stretched itself like a cinematic backdrop across all that was happening on home soil, with peace protests turning to riots, and riots to assassinations. In Europe, France was forever changed by nationwide general strikes and the May Paris student riots. The UK was in social conflict, playing uncomfortable host to Enoch Powell’s Rivers of Blood speech whilst younger generations campaigned for greater moral enlightenment. 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An imagined community where differences drop off and resonances emerge – between Maher Shalal Hash Baz affiliates Kasumi Trio, Taiwanese score composer Chen Ming Chang whose ‘Rainwater’ (written for Hou Hsiao-Hsien’s 1986 film Dust In The Wind) is exquisitely heartbroken, and the plangent improvisations of self-taught French pianist Delphine Dora.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u2028\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRevelations are frequent: the bedsit isolationism of Bo Harwood and John Cassavetes’ ‘No One Around to Hear It’ (from The Killing of a Chinese Bookie); the narked minimalism of Klang (an early 2000s band formed by ex-Elastica guitarist and featuring prize-winning experimental novelist Isabel Waidner on bass); the etude\u003c\/span\u003e\u003cspan\u003e-grooves and echoic wobble of below-the-radar French avant-gardists Omertà ; the beautiful, plaintively dubby ‘Is It You?’ by Slapp Happy; a psych-tinged reimagining of PiL’s ‘Poptones’ by Simon Fisher Turner (one half of Deux Filles, and here, recording for él as The King of Luxembourg) that's as perverse as the cover of Throbbing Gristle’s 20 Jazz Funk Greats.\u003cbr\u003e\u2028\u003cbr\u003eSearchlight Moonbeam is the musical analog of an Italo Calvino novel or a medieval fable. 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Moving through imagery of ancient stone monuments and weather-worn landscapes, these works form their own mythology, tracing rituals half-remembered and gestures carried by land.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eVoice runs strongly through the album, often unsettled, as language loosens and drifts like weather. Voices masked by drone and tape noise, warped through vocoder, or reduced to bare resonance, gradually erode the sense of fixed narration. Instead, they appear in passing, more atmosphere than presence. Borrowing quietly from Virginia Woolf, voices surface as states of being; luminous, heavy, restless, or calm, shaping mood rather than meaning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eElsewhere, the work turns toward traditional and archaic instrumentation. Bells, whistles, zither, harp, and cello ground the music in older forms, their timbres carrying a sense of inherited presence. 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Dressed in blue and ready to whip the country to her heel.\u003c\/p\u003e\n\u003cp\u003e“But at night, malcontent youth were united by forces of opposition, whose dissenting voices were aired across the land on John Peel’s Radio 1 show, set to the sound of slasher guitars, swirling fairground keyboards, loping basslines and percussion that recalled the echo of jackhammers or the march of insect feet. Here, punk’s unruly offspring distilled the dissonance of the times into a new kind of music. Flirting with the fetishist and taboo, drawing upon horror and science fiction imagery, they were the outlaw leaders of the greatest style tribe of the decade: the goths. Dressed in black, these kohl-eyed women voiced the alienation of their generation during the decade of the Cold War, the Miners’ Strike, privatisation and AIDS.\u003c\/p\u003e\n\u003cp\u003e“Reflecting on all this while writing Season Of The Witch, I also began to realise how this music linked to previous generations of gothmothers, going back as least as far as the Industrial Revolution, probably much further. The oldest song you will hear here is Shirley Collins’ setting of ‘Death And The Lady’, which was collected just after World War II but has its roots in the global pandemic of 1348-49: the Black Death. Shirley has spent her long life researching and breathing fresh breath into songs that span time and cross oceans to form an alternative history of events recorded not by the victors of wars but the peasants counting the cost.\u003c\/p\u003e\n\u003cp\u003e“Poison Ivy Rorschach of the Cramps performed a similar service, when she and Lux Interior disinterred a crypt-full of long-forgotten hillbillies and bordello blues singers and re-recorded their songs at Sun Studios, where Elvis cut his first disc. Greek-American Diamanda Galàs, that greatest and most fearless defender of AIDS victims, drew upon the demotiki tradition of her forebears in the hills of Sparta. A teenage Lydia Lunch channelled Billie Holiday’s 1941 version of the notorious ‘Gloomy Sunday’ into big band jazz for the no wave New York of 1980. 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