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Arts & Literature => Music => Topic started by: Jeannette Latoria on July 29, 2007, 01:09:37 am

Title: Joy Division
Post by: Jeannette Latoria on July 29, 2007, 01:09:37 am

Left to right: Stephen Morris, Peter Hook, Ian Curtis, Bernard Sumner
Background information
Origin Salford, Greater Manchester & Macclesfield, Cheshire, England
Genre(s) Post-punk
Years active 1976–1980
Label(s) Factory Records
acts New Order
Former members
Ian Curtis
Peter Hook
Stephen Morris
Bernard Sumner

Title: Re: Joy Division
Post by: Jeannette Latoria on July 29, 2007, 01:11:01 am

Joy Division were an English rock band that formed in 1976 in Salford, Greater Manchester. With their dark, cavernous sound and use of guitars, throbbing bass, and electronics, they pioneered the post-punk sound of the late 1970s. In May 1980, after the suicide of its lead singer, Ian Curtis, the remaining members reformed as New Order and went on to achieve much critical and commercial success.

Though the group achieved only modest success during their career, and released only two official albums, they have since been acclaimed as one of the most inventive and influential bands of their era. Thom Jurek writes, "They left just a small bit of music and an echo that still rings".

Title: Re: Joy Division
Post by: Jeannette Latoria on July 29, 2007, 01:15:46 am
( ( ( (

They emerged from the punk movement around 1976, and became in less than 3 years time, the ultimate new-wave group, even in the eye of fellow-bands like U2, Echo And The Bunnymen or The Cure.

Joy Division's music is at the same time, dark and limpid, oppressing and liberating, dramatic and stimulating, in a word, it is filled with life. In the beginning ot the 80's, new-wave bands were not
only trying to make money but to express what they lived and felt. In the Mancunian group - one
has just to see or listen to their gigs to be aware of it, there is a feeling of abolute emergency.
No cheating, no advertising (no musician name or picture on the records sleeves), no marketing
strategy. They are here because they have to, even if they do not feel like it. Absolute urgency,
as the need for your lover's eyes, the comfort of a friend or the smile of a child; urgency that pushes
you to the limits, and even further, whatever the cost.


Title: Re: Joy Division
Post by: Jeannette Latoria on July 29, 2007, 01:18:44 am
The famous Sex Pistols show at the Manchester Lesser Free Trade Hall on July 20, 1976 inspired Bernard Sumner and Peter Hook to form a band with their friend Terry Mason. Sumner bought a guitar, Hook a bass and Mason a drum kit. They placed an advertisement in a Manchester record store, Virgin Records, for a singer and recruited Ian Curtis. Curtis, who knew the others from previous gigs, had also attended the Sex Pistols concert, along with his wife, Deborah.

Just before their first gig on May 29, 1977 supporting The Buzzcocks and Penetration at the Electric Circus, the band renamed themselves Warsaw, even though they appeared on the bill as Stiff Kittens (suggested by Richard Boon and Pete Shelley of the Buzzcocks). (The name change to Warsaw was purportedly inspired by the David Bowie track Warszawa, found on his 1977 album Low and not inspired by the Polish city of the same name). Five weeks and half a dozen gigs later, Warsaw replaced Mason with punk drummer Steve Brotherdale from another band called Panik. On July 18, 1977, they recorded five crude punk songs that became The Warsaw Demo. Having recorded the demo, the band fired Brotherdale. Driving home from the studio, they pulled over and asked Brotherdale to check on a "flat tyre". When he got out of the car, they sped off. Brotherdale later tried to get Curtis to join Panik, but Curtis declined. The band put out an advertisement in a music shop window for a replacement drummer and hired respondent Stephen Morris. The band chose Morris because Curtis recalled him from his school days. Morris had attended the same school two years below Curtis. Unlike the band's previous drummers, Morris clicked well with the other members. His metronome-like drumming owed more to krautrock than the aggressiveness of punk.

Title: Re: Joy Division
Post by: Jeannette Latoria on July 29, 2007, 01:26:02 am

Warsaw renamed themselves Joy Division in late 1977 in order to avoid confusion with the London punk band Warsaw Pakt, borrowing their new name from the prostitution wing of a concentration camp from the 1955 book The House of Dolls. "No Love Lost," an early Joy Division/Warsaw track, contains a lyrical reference to Yehiel De-Nur's book:

"...Through the wire screen, the eyes of those standing outside looked in at her as into the cage of some rare creature in a zoo.
In the hand of one of the assistants she saw the same instrument which they had that morning inserted deep into her body.
She shuddered instinctively.
No life at all in the house of dolls.
No love lost..."

The band's signature style began to take shape in late 1977. Sessions recorded in December 1977 were a departure from the sound of The Warsaw Demo. The group played their first gig as Joy Division on January 25, 1978. Regular gigs in the north of England throughout early 1978 provided the band with enough material and experience to record a debut album. However, after the producer added synthesizers to several tracks, the band scrapped the record. The album leaked as a bootleg recording called Warsaw in 1982 and has been re-pressed and re-released several times[3] since then. Rob Gretton became the band's manager in May 1978. Over the next twenty years, he contributed much to Joy Division and to New Order.

In the summer of 1978, the band debuted on vinyl with one Warsaw track on a compilation album entitled Short Circuit - Live At The Electric Circus which was recorded live on October 2, 1977. The song was preceded by Bernard Sumner (not Curtis, contrary to some references) shouting "You all forget Rudolf Hess." In June 1978, Joy Division released their December 1977 sessions as a 7" EP under the title An Ideal for Living. They remastered and re-released An Ideal for Living as a 12" in late 1978. On September 20, 1978, they performed on the local TV news show Granada Reports; then in December 1978, they appeared on the compilation double 7" EP A Factory Sample, contributing two tracks recorded a few months earlier. This EP sold out within a couple of months and was the first release to document the haunting and atmospheric sound they had been developing since that past summer. Early 1979 saw the band gain more publicity. Curtis appeared on the front cover of the New Musical Express and they recorded a radio session in January (aired on BBC Radio 1 on February 14 by John Peel). On March 4, they supported The Cure at the Marquee Club, a major venue in London.

Title: Re: Joy Division
Post by: Jeannette Latoria on July 29, 2007, 01:27:56 am

In April 1979, the band began recording their debut album Unknown Pleasures. The record was bleaker and darker in tone than most of its contemporaries, featuring Hook's bass as the lead melodic instrument, drums treated with digital delay, Sumner's jagged guitar style and Curtis's baritone vocals that have been likened to Jim Morrison and Iggy Pop. Producer Martin Hannett contributed significantly to the final sound. (Coincidentally, a non-album track, "Digital" was the first song the band recorded with Hannett as producer as well as the last song the group performed live before Curtis' death). Whereas most punk rock bands had been extroverted and aggressive, Joy Division were more introverted and personal. Despite their insularity, however, their music could be very aggressive and chaotic. The album cover, designed by Peter Saville based on a graph of 100 consecutive pulses from the pulsar CP 1919, is regarded as a classic of minimalist design. The image represents the final life of a dying star.

Unknown Pleasures was released in June while Joy Division were recording five songs for Piccadilly Radio.

They performed on Granada TV again in July, made their only nationwide TV appearance in September on BBC2, supported The Buzzcocks in a 24-venue UK tour during October and November, and performed on Peel's show again in December. Despite the fact that Unknown Pleasures was selling well and receiving good reviews from the music press, all was not well. Diagnosed with epilepsy in January 1979, Curtis' illness worsened during 1979 and would often have tonic-clonic seizures on stage that resulted in convulsions, or absence seizures that would cause brief trance-like pauses.

Title: Re: Joy Division
Post by: Jeannette Latoria on July 29, 2007, 01:29:08 am

Joy Division's first album, Unknown Pleasures

Title: Re: Joy Division
Post by: Jeannette Latoria on July 29, 2007, 01:37:21 am


In January 1980, Joy Division set out on a European tour. Several dates were canceled due to Curtis's deteriorating health. On February 28, the band played a gig at the Warehouse in Preston. The gig was plagued with sound problems. With Martin Hannett again producing, the band began recording their second album Closer at the end of the European tour in March. As with the early Warsaw/Joy Division track "No Love Lost" the band again featured a song with a literary reference: the opening track on Closer, "Atrocity Exhibition," shares its title with the novel The Atrocity Exhibition by J. G. Ballard. On April 8, Curtis was pulled out of hospital to play a gig at the Derby Hall in Bury. At the urging of Factory Records founder Tony Wilson, Joy Division's set began with Alan Hempstall of Crispy Ambulance and Simon Topping of A Certain Ratio filling in on vocals for Curtis who was initially too ill to perform. However, many members of the audience protested, turning the gig into a riot in which Hook, Gretton, and other crew members fought with angry onlookers. [4] Several April gigs were canceled due to the continuing ill health of Curtis. Following a one-off gig in Birmingham on May 2, the band took a two-week rest in anticipation of their scheduled American tour.

At the time, Curtis' relationship with his wife Deborah (the couple married in 1975 as teenagers) was collapsing. Contributing factors were his deteriorating ill health, her being mostly excluded from his life with the band, as well as his relationship with a young Belgian woman, Annik Honoré, whom Curtis met on European tour in late 1979.

Title: Re: Joy Division
Post by: Jeannette Latoria on July 29, 2007, 01:40:07 am

On May 18, 1980, the evening before Joy Division were to embark on their first American tour, Curtis returned to his home and convinced his wife, Deborah, to spend the evening at her parents' house (his wife had filed for divorce in April) . Curtis watched the Werner Herzog film Stroszek on television, then listened to the Iggy Pop album The Idiot and wrote a letter to his estranged wife. He then hanged himself in the kitchen. Deborah found him the following morning. The members of Joy Division had made a pact that, should any member leave the group the remaining members would abandon the name "Joy Division" and all material associated with it. The remaining members held true to this commitment, and Joy Division was officially disbanded.

In the summer of 1980, "Love Will Tear Us Apart" hit number 13 on the British singles chart, their biggest commercial success to date. In July 1980, Closer was finally released to overwhelmingly positive reviews; it also charted, peaking at number 6 on the British album chart. Sales of Unknown Pleasures were also robust. In June 1980, Hook, Morris and Sumner entered Graveyard Studios with fellow Factory act Kevin Hewick for a session, produced by Martin Hannett. The track was called 'Haystack'. It was not released as a single by Factory, but was later released on a Kevin Hewick compilation. Factory Records head Tony Wilson reportedly suggested to the band that Hewick replace Curtis as vocalist in the group.  Eventually renaming themselves New Order, the band was reborn as a three piece, later recruiting Morris' girlfriend Gillian Gilbert to round out the group on keyboards. Initially, the band was mum as to whether the name referred to the 'new order' of the band, or if it was a reference to Nazi Germany as was the name Joy Division. Alternating between guitar-drum-bass and electronic styles, the band's music reached and inspired a variety of listeners. New Order is often cited as one of the leading synthpop and dance music groups of their era, yet their use of traditional rock instruments such as guitars and live drums has reached a level of influence comparable with their landmark electronic works.

Title: Re: Joy Division
Post by: Jeannette Latoria on July 29, 2007, 01:44:58 am
The band, and especially Ian Curtis, has been an inspiration for a number of bands and musicians that include U2, The Smashing Pumpkins, Manic Street Preachers, Interpol, Trent Reznor (who, as Nine Inch Nails, covered "Dead Souls" for the soundtrack of the movie The Crow), Robert Smith of The Cure, and Red Hot Chili Peppers guitarist John Frusciante. The continuing importance of Joy Division was shown at the turn of the millennium when John Peel asked his listeners to vote for the all-time Festive 50. At number one was the haunting "Atmosphere," while "Love Will Tear Us Apart" sat at number three. Three more songs from the band sat on the list. The ending solo from "New Dawn Fades," as performed by Moby, was featured in the 1995 film Heat as Al Pacino chases down Robert De Niro. In 1999, a New Jersey band named Thursday recorded a song called "Ian Curtis" that included Joy Division song titles, such as Isolation, Heart & Soul and Twenty Four Hours, as lyrics. In 2005, Joy Division were inducted along with New Order into the UK Music Hall of Fame.

Much of the history of Joy Division was portrayed in the 2002 MGM/United Artists released film 24 Hour Party People which presented a somewhat fictionalized account of the rise and fall of the Factory Records, with whom both Joy Division and New Order were signed.

In 2007 a new film Control, directed by Anton Corbijn was released. The film depicts Curtis' life and uses the Deborah Curtis biography as a basis, although the plot has been broadened to cover areas of Ian's life that Deborah was not privy. Other people close to Ian were consulted for the film, including Tony Wilson, and of course the band, who scored the film using the Joy Division name. Control had its international premiere on the first night of Director's Fortnight at the 2007 Cannes Film Festival (May 17, 2007; the twenty-seventh anniversary of Ian Curtis' final night alive). Curtis is played by 24 Hour Party People star Sam Riley, who played Mark E. Smith, while his wife Deborah is portrayed by Samantha Morton, and Alexandria Maria Lara plays Annik Honoré. The members of New Order attended the premiere. In 2007 the Belgian indie magazine Side-Line published an interview online with Annik Honoré originally made in 2005 in which she tells for the first time about her view on the upcoming film

Title: Re: Joy Division
Post by: Jeannette Latoria on July 29, 2007, 01:47:42 am

Joy Division often experimented with different sounds, especially once in collaboration with Martin Hannett. Within the band, it is said that Sumner was the driving force behind new instrumental ideas and usage. He, for instance, instigated the use of synthesizers in Joy Division's music. Ironically the band had been unhappy with the 1978 scrapped RCA album recordings because the producer had used synthesizers. Synthesizers were used the latter part of the band's career, featuring prominently in songs such as "Isolation," "Decades" and "The Eternal" from the Closer album as well as "Atmosphere" and "Something Must Break." Interestingly, an outtake from the Closer sessions, "As You Said" (sometimes called "Incubation 2") subsequently released on the FAC28 flexi-disk and on the CD box set Heart And Soul, is entirely electronic in its sound, and is one of only two Joy Division songs that doesn't include any vocals (the other track being "Incubation", which features dual guitar work from Curtis and Sumner).

Synthesizers at the time were notoriously prone to overheating and going out of tune - Joy Division's ARP String Machine and Powertran Transcendent were no exceptions, as the synthesizer on the live version of "Decades" featured on "Still" testifies. Another problem with using a synthesizer live was that Sumner, the group's lead guitarist, was not able to play both synthesizer and guitar at the same time. For this reason, Ian Curtis took over basic guitar duties on some live tracks. "I Remember Nothing," "Heart and Soul," "Atmosphere," "Love Will Tear Us Apart" and "Incubation" all featured Curtis playing the electric guitar live, although it is unlikely that Curtis played guitar on studio recordings (though remains a possibility, with no official word ever coming from the band). The increasing use of the synthesizer towards the latter part of Joy Division's existence supports a possible theory that Joy Division may well have taken the electronic based direction that New Order were to take had Curtis not died. In a 2005 Q magazine article, the members of New Order claimed this was the case, and that if Curtis had still been alive they would have charted the same path, French disco diversions and all. Footage exists of Curtis playing Sumner's Shergold Custom Masquerader and also VOX Phantom VI Special guitar (often mistakenly attributed as being a Teardrop, Guitar Organ or ordinary Phantom), which were apparently cheap at the time. Although a competent but not a skilled guitarist, Curtis' playing enhanced the band's sound at live gigs. Sumner, as previously mentioned, was the group's lead guitarist and used two or more different models with Joy Division; the mentioned Shergold Custom Masquerader and a Gibson SG Standard were two he is definitely known to have used. During the Warsaw days Sumner used a cheap SG copy, later upgrading to a genuine Gibson after Unknown Pleasures had started to sell.

Peter Hook chose to play his bass guitar more like a lead guitar on many tracks. Hook started to use a Shergold Marathon six stringed bass guitar on the Closer album, which allowed for a scale of higher notes to be played. He continued to use the Marathon with New Order, as well as a conventional Yamaha BB1200 four-stringed bass. His original bass, a Hondo Rickenbacker copy, was damaged after an altercation during a gig in Manchester in September 1979 (NB: some reports state that this bass was destroyed during this altercation, but the bass survived enough at least to be used on the band's January 1980 European Tour). Hook also performed backing vocals for the group and was the 'other voice' on the song "Interzone." On the tracks "Atrocity Exhibition" and "Sound of Music," Hook and Sumner swapped instruments so that Hook was playing electric guitar and Sumner bass guitar. The melodica was another instrument used by Joy Division during a select few recording sessions: briefly on "Decades" and quite predominantly on "In a Lonely Place," which only exists as a rehearsal recording (this recording can be heard in the "Heart and Soul" box set). New Order used the melodica a number of times and were said to have "inherited" it from Curtis, who purchased one after hearing it used by dub-reggae artist Augustus Pablo.

Morris used an extensive drum kit to allow a great range of rolls, rhythm shifts and beats. Morris was an active drummer, especially on tracks such as "She's Lost Control" and "Transmission" where the insistent beat fueled Curtis' gyrations. Morris also used Simmonds and Synare electronic drumpads and a BOSS DR-55 drum machine on some songs ("Insight," "She's Lost Control," "Isolation," "Decades") in combination with conventional drums to broaden the tonal palette.

Title: Re: Joy Division
Post by: Jeannette Latoria on July 29, 2007, 01:50:29 am

The usual scene at a Joy Division gig was Curtis in the middle at the front, with Sumner to his right and Hook to left, and Morris and his drum kit behind him. After experimenting with strobe lighting, later the band played under white lights, without variations in their low light levels, due to Curtis's epilepsy. Curtis usually held onto the microphone stand for most of a song, only leaving it to dance. When Curtis danced, it was with a unique style that involved rotating his arms very quickly back and forth in front of him as though fighting with a large wheel or attempting to swim. He sometimes walked off stage after he had finished his vocals, leaving the rest of the band to finish the song without him. Also, Curtis very rarely spoke to the audience at gigs apart from the occasional "thank you" at the end of a song. At the Preston Warehouse gig in 1980, Curtis was unusually talkative (in order to keep the audience informed of the equipment failure the band suffered partway through the set). This gig has since been issued on a CD which culminates in a particularly intense version of "She's Lost Control" despite the equipment failures.

Title: Re: Joy Division
Post by: Jeannette Latoria on July 29, 2007, 01:53:08 am
The band's name, along with Sumner reverting to his father's surname Albrecht, and the imagery used on early releases, garnered the band criticism for their perceived insensitivity. Accusations of neo-Nazism, a charge the group denied, dogged them for the remainder of the band's career. These accusations resurfaced after Joy Division ended and reformed as New Order, a name sometimes interpreted as a reference to Adolf Hitler's speeches promising "the new order of the Third Reich". The band later stated they got the name from a newspaper article on the new society the Khmer Rouge had envisaged for Cambodia and that a variety of other names had been considered, some more frivilous than others. Gillian Gilbert said in a television interview she simply considered it to mean the new order within the band as they moved on from Joy Division. It is worth noting that there is nothing in any of Joy Division's lyrics that could be considered as promoting far right wing philosophy.

Title: Re: Joy Division
Post by: Jeannette Latoria on July 29, 2007, 01:55:07 am

At Cannes, A Biopic Of Joy Division Star
British Unknown Makes Big Impression At Cannes Film Festival In Biopic Of Joy Division Star

CANNES, France, May. 17, 2007
(AP) A small film about a short-lived rock star is making a big splash at Cannes.

"Control" _ the story of Joy Division singer Ian Curtis, who committed suicide at 23 _ marks the feature-film directing debut of rock photographer Anton Corbijn and features a star-making performance from British unknown Sam Riley.

The ingredients are familiar _ a soupcon of sex, a dash of drugs, a blast of rock 'n' roll. But "Control," which opened the film festival's Directors' Fortnight on Thursday, is far from a standard showbiz biopic.

Shot in stark black-and-white and set in gritty, unglamorous 1970s England, it re-creates the life of a singer who died unhappy and almost unknown but has secured a place in rock mythology.

The part came out of the blue for Riley, 27, who had abandoned an acting career to take an unsuccessful shot at fame with his band 10,000 Things.

"I don't think we ever troubled the charts," he said drily.

When Riley heard about auditions for the film, "I was working in a warehouse in Leeds, folding shirts."

If the enthusiastic reception in Cannes is any indication, Riley can give up the day job. He is riveting as Curtis, an intense, charismatic performer who often appeared remote offstage.

Netherlands-born Corbijn, who turns 52 on Sunday, photographed Joy Division for British music magazines and went on to design album covers for Depeche Mode and U2. He said he knew as soon as he met Riley that he was perfect for the part.

When he moved to Britain in 1979, Corbijn said he was shocked by the country's austerity and poverty.

"A lot of bands I met, including Joy Division, were kind of underdressed _ a thin coat on, smoking and shivering in the cold," he said. "When I met Sam it was also in the winter and he was totally the same."

Pale and big-eyed, Riley resembles Curtis _ but more importantly, said Corbijn, he "had an innocence and a freshness that I was hoping for but never thought I would find."

Fans of music from the English city of Manchester, especially those who have seen Michael Winterbottom's "24 Hour Party People," will recognize the film's milieu. It is set in northern England in the late 1970s, a place of gray skies and grim prospects that produced a slew of original and innovative bands, from the Buzzcocks to The Fall.

One of the most original was Joy Division, which melded guitars and electronica with Curtis's baritone voice to create striking songs like "Transmission" and "Love Will Tear Us Apart." They never hit the big time. Curtis, troubled by a failing marriage and worsening epilepsy, killed himself in 1980, on the eve of the band's first U.S. tour.

Since then, Joy Division has been cited as an influence by Nine Inch Nails and U2, among others. The surviving band members went on to found '80s hitmakers New Order.

Adapted from a memoir by Curtis' widow Deborah _ played in the film by Samantha Morton _ "Control" is an intense but far from grim experience. Shot through with down-to-earth northern English humor, it features a soundtrack that runs from David Bowie and Roxy Music to the Sex Pistols. Joy Division's songs were convincingly re-created for the film by the actors, who all played their own instruments.

The other film flying the flag for rock 'n' roll at Cannes is the multicolored opposite of "Control." The rockumentary "U2 3D," which premieres Saturday, promises to let audiences see Bono, The Edge and bandmates, not only in color, but in eye-popping 3D.

Corbijn _ who captured U2 in black and white for the "Joshua Tree" album cover _ said he never considered shooting his Joy Division film in color.

"My whole memory of that period is black and white," he said. "There is basically no color photography of that band around. So it felt very proper to the project."

Copyright 2007 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

Title: Re: Joy Division
Post by: Jeannette Latoria on July 29, 2007, 01:56:02 am

Title: Re: Joy Division
Post by: Jeannette Latoria on July 29, 2007, 01:58:01 am

Title: Re: Joy Division
Post by: Christiana Hanaman on June 14, 2009, 05:33:44 am
joy division

Title: Re: Joy Division
Post by: Christiana Hanaman on June 14, 2009, 05:34:14 am
Love Will Tear Us Apart- Joy Division

Title: Re: Joy Division
Post by: Christiana Hanaman on June 14, 2009, 05:34:50 am
Joy Division - Shadowplay

Title: Re: Joy Division
Post by: Christiana Hanaman on June 14, 2009, 05:35:29 am
Joy Division - Disorder

Title: Re: Joy Division
Post by: Christiana Hanaman on June 14, 2009, 05:36:21 am
Joy Division - She's Lost Control

Title: Re: Joy Division
Post by: Christiana Hanaman on June 14, 2009, 05:36:52 am
JOY DIVISION-Transmission

Title: Re: Joy Division
Post by: Christiana Hanaman on June 14, 2009, 05:37:50 am
"Joy Division" documentary Trailer

Title: Re: Joy Division
Post by: Krysta Ludeking on July 19, 2009, 10:52:10 pm
joy division

Title: Re: Joy Division
Post by: Krysta Ludeking on July 19, 2009, 10:55:12 pm
Love Will Tear Us Apart- Joy Division

Title: Re: Joy Division
Post by: Krysta Ludeking on July 19, 2009, 10:57:29 pm
Joy Division Love will tear us apart New Video BBC version

Title: Re: Joy Division
Post by: Krysta Ludeking on July 19, 2009, 10:58:53 pm
Joy Division - New Dawn Fades

Title: Re: Joy Division
Post by: Krysta Ludeking on July 19, 2009, 11:02:06 pm

Title: Re: Joy Division
Post by: Krysta Ludeking on July 19, 2009, 11:02:36 pm
Joy Division - At A Later Date (rare)

Title: Re: Joy Division
Post by: Krysta Ludeking on July 19, 2009, 11:03:50 pm

Title: Re: Joy Division
Post by: Krysta Ludeking on July 19, 2009, 11:05:18 pm
Joy Division - Wilderness

Title: Re: Joy Division
Post by: Krysta Ludeking on July 19, 2009, 11:06:13 pm
Joy Division - Atmosphere 1988 [Ian Curtis]

Title: Re: Joy Division
Post by: Krysta Ludeking on July 20, 2009, 01:23:17 am

Title: Re: Joy Division
Post by: Krysta Ludeking on July 20, 2009, 01:24:21 am

Title: Re: Joy Division
Post by: Krysta Ludeking on July 20, 2009, 01:26:43 am

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 02:53:26 am
Martin Hannett

Martin Hannett (former North Manchester, Lancashire, England[1] 31 May 1948[2][3] – 18 April 1991), sometimes credited as Martin Zero, was a record producer who helped develop Joy Division and was an original partner in Factory Records with Tony Wilson. Hannett's trademark sound, most apparent on Joy Division's debut album Unknown Pleasures and its follow-up, Closer, is sparse and eerie, complementing frontman Ian Curtis' baritone vocals.

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 02:55:02 am

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 02:56:25 am
Martin Hannett
Also known as    Zero, Martin "Zero" Hannett
Born    31 May 1948(1948-05-31)
Origin    Former North Manchester, Greater Manchester, England
Died    18 April 1991 (aged 42)
Genre(s)    New Wave, Post-Punk
Occupation(s)    musician, record producer
Instrument(s)    bass guitar, guitar, keyboards
Years active    1976 – 1991
Label(s)    Rabid, Factory, Virgin
Associated acts    Paul Young, John Cooper Clarke, The Invisible Girls, Pauline Murray, Nico

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 02:56:52 am
He was raised in a working class Catholic[4] family in Miles Platting, Manchester,[5] attending Corpus Christi school, in Grim City,[6] and Xaverian College, in the centre of Manchester, near Rusholme. In 1967,[7] he began to attend UMIST (University of Manchester Institute of Science and Technology), where he earned a degree in chemistry, but chose not to pursue that profession.[4]

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 02:57:03 am
After he graduated, he began to learn to play bass.[8] He was bassist with Spiderman King[9] and as member in a band called Paradox, in 1973, alongside Paul Young, later of Sad Café and Mike + The Mechanics.[10][11]

His production work began with the cartoon show All Kinds of Heroes soundtrack, which also was produced by Steve Hopkins (with whom later worked again). By the time, he also began to mix at pub gigs. Another early production works included Greasy Bear material, Belt & Braces Road Show Band's eponymous album, in 1975, and five songs from Pete Farrow's repertoire, later included on that artist's compilation album Who Says There's No Beach in Stockport, in 1977. However, he first came to musical attention the latter year, when, as Martin Zero, he produced the first independent punk record, the Buzzcocks Spiral Scratch EP. Under the same moniker he produced early records by punk poet John Cooper Clarke, whose Salford monotone was complemented by drum machines, simple synthesiser motifs and Hannett's own bass playing. As Martin Zero, Hannett appeared on Top of the Pops playing bass on Jilted John's eponymous single, which he also produced.

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 02:57:18 am
Hannett became most closely associated with Joy Division. Hannett's meticulous production, heavily influenced by dub, created a space at the heart of Joy Division's sound, pitting the band's spartan, jagged instrumentation against a spacey void, the latter being created by adept studio manipulation. For these purposes, Hannett often utilized looping technology to treat musical notes with an array of digital filters and both Melos analogue and digital and AMS digital delay units. Hannett would use effects from both ends of the price spectrum to get his reverb and echo effects since the AMS delay was much more expensive and complicated than the Melos analogue tape and bucket brigade devices. His techniques are especially prominent in regard to the band's drum and synth sounds, which use the echo and digital reverb effects, the notes echoing and reverberating through a spare sonic backdrop.The first synths Hannett and Sumner both used were Transcendent 2000s and then ARP Omnis. Also evident from his dub influences was the mixing of the bass (treated with a Clone Theory pedal provided by Peter Hook) and drums higher in the mix than usual, and placing the other instruments further back. The unusual effect which can be heard in the background of the track "Atmosphere" is supposedly Sumner stroking a set of chimes and fed through a microphone into a couple of Hannett's AMS delays.Hannett also liked to feed sounds through his Marshall Time Modulators,he had two of these and Strawberry Studios owned a third which he used.

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 02:57:38 am
As a producer, Hannett obsessed over drum sounds, never being content until they completely coincided with the sounds in his head. Legend has it that he once forced Joy Division drummer Stephen Morris to take apart his drum kit during a recording session and reassemble it to include additional parts from a toilet. He also reputedly had Morris set up his kit on a first floor flat roof outside the fire escape at Cargo Recording Studios, Rochdale. The studio was used for the recording of Digital, Glass, Atmosphere and Ice Age. Hannett's unorthodox production methods resulted in drum sounds mixed with synthesisers that were both complex and highly distinctive. One can hear these distinctive drum and synth sounds on many Joy Division recordings. According to Hannett: "There was a lot of space in their sound. They were a gift to a producer, because they didn't have a clue. They didn't argue. A Factory Sample was the first thing I did with them. I think I'd had the new AMS delay line for about two weeks. It was called 'Digital'. It was heaven sent."[12]. Hannett was instrumental in the early development of these particular AMS delays asking the engineers in the AMS company to try and recreate within the electronics the sounds he was hearing in his head.

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 02:58:03 am
Hannett's production can also be heard on Basement 5's album 1965 - 1980. Like many British bands of their time (e.g., The Clash), Basement 5 had a harsh, punk attitude borne out in their dystopian lyrics referencing the perceived injustices (e.g., those concerning the council estate youth of the late 1970s and early 1980s) of the early Thatcher era. However, musically, they draw from a slightly wider palette than many of their punk peers, utilizing a variety of Caribbean influences, particularly reggae. With the help of Hannett, they blended such traditional styles with tuneful, contemporary synth-pop, yielding a sound that balances the rustic and the futuristic, in much the same way that Joy Division managed to meld primal, Kinks-ian riffing with a menagerie of studio effects and manipulation. Hannett remixed some of the tracks from 1965-1980 for In Dub, which features dub versions of Basement 5's material.

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 02:58:13 am
In 1981, Hannett was name checked by the Dead Kennedys frontman Jello Biafra on their track "Nazi Punks **** Off!," which appears on the In God We Trust, Inc. EP. Biafra introduces the track by saying, "This is '**** Off', overproduced by Martin Hannett, take four." The comment was tongue-in-cheek; Hannett never produced for the Dead Kennedys. A similar quote precedes the song "**** Me" by "Mihi" as appears on "Regret", the first volume of the I've Girls Compilations.

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 02:58:36 am
Hannett worked briefly with U2, New Order, and Factory Records band Stockholm Monsters. A rift formed with Factory and he sued them in 1982 over a financial dispute; the matter was eventually settled out of court. At this point, Hannett's career had spiralled into decline due to his heavy drinking and drug use, especially his use of heroin. His weight eventually doubled (to roughly 26 stone, or 364 pounds), and he died of heart failure in 1991 at the age of 42 in Chorley, Lancashire. Hannett is survived by a wife, daughter and a son.

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 02:58:48 am
Hannett was portrayed by actor Andy Serkis in the 2002 film 24 Hour Party People, which was based on Tony Wilson's career as the co-founder of Factory Records and The Haçienda nightclub. In the DVD commentary, Wilson notes a review that described Hannett as Serkis's "strangest role," and points out that Serkis is best known for his portrayal of Gollum in Peter Jackson's Lord of the Rings trilogy. Wilson concludes that the reviewer's implication is correct, that indeed, Hannett was far stranger than Gollum. Hannett was portrayed by Ben Naylor in Anton Corbijn's film Control.

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 02:59:06 am
Albums produced

    * Belt & Braces Road Show Band, Belt & Braces Road Show Band 1975
    * Pete Farrow, Who Says There's No Beach In Stockport? 1977 issued on cd by Ozit Morpheus
    * John Cooper Clarke, Disguise in Love 1978
    * The Durutti Column, The Return of the Durutti Column 1979
    * Joy Division, Unknown Pleasures 1979
    * Pauline Murray And The Invisible Girls, Pauline Murray And The Invisible Girls 1979
    * Basement 5,1965-1980 1980
    * John Cooper Clarke, Snap, Crackle & Bop 1980
    * Joy Division, Closer 1980
    * Magazine, The Correct Use of Soap 1980
    * The Psychedelic Furs, The Psychedelic Furs 1980 (songs "Susan's Strange" and "Soap Commercial")
    * A Certain Ratio, To Each... 1981
    * Joy Division, Still 1981
    * Magazine, Magic, Murder & the Weather (mixed) 1981
    * New Order, Movement 1981
    * Section 25, Always Now 1981
    * John Cooper Clarke, Zip Style Method 1982
    * Armande Altaï, Nocturne Flamboyant 1983
    * Blue in Heaven, All The Gods Men 1985
    * The Stone Roses, Garage Flower 1985
    * Walk in the Walk, Walk the Walk 1987
    * Happy Mondays, Bummed 1988
    * The High, Somewhere Soon 1990
    * Joy Division Martin Hannett's Personal Mixes2007 - now officially owned by Joy Division
    * Joy Division In the studio with Martin Hannett2008 - now officially owned by Joy Division

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 02:59:36 am
Singles produced

    * Buzzcocks, Spiral Scratch 1976 as Martin Zero
    * Jilted John, "Jilted John" 1978
    * OMD, "Electricity" 1979 as Martin Zero
    * Kevin Hewick, "Haystack" 1980
    * U2, "11 O'Clock Tick Tock" 1980
    * Pauline Murray And The Invisible Girls, Mr X 1980
    * Pauline Murray And The Invisible Girls, Searching For Heaven 1981
    * Crispy Ambulance, "Live on a Hot August Night" 1981
    * ESG, "ESG" 1981
    * New Order, "Ceremony" 1981
    * New Order, "Everything's Gone Green" 1981
    * New Order, "Procession" 1981
    * Stockholm Monsters, "Fairy Tales" 1981
    * Kit, "Overshadowing Me" 1990
    * Kitchens of Distinction, "Quick as Rainbows" 1990
    * New Fast Automatic Daffodils, "Get Better" 1991

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 02:59:48 am

    * Martin: The Work of Record Producer Martin Hannett (Factory Records, 1991)
    * And Here is the Young Man (Debutante, 1998)
    * Zero: A Martin Hannett Story 1977-1991' (Big Beat, 2006)

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 02:59:55 am

   1. ^ [1]
   2. ^ Simmonds, Jeremy. The Encyclopedia of Dead Rock Stars. Pag. 272, Chicago Review Press, 2008. ISBN 1-55652-754-3, 9781556527548
   3. ^ [2]
   4. ^ a b Interview (...) although we (he and John Cooper Clarke) both come from the Catholic working class in Manchester.
   5. ^ [3]
   6. ^ [4]
   7. ^ [5]
   8. ^ [6]
   9. ^ [7]
  10. ^ [8]
  11. ^ Simmonds, Jeremy. The Encyclopedia of Dead Rock Stars. Pag. 272, Chicago Review Press, 2008. ISBN 1556527543, 9781556527548
  12. ^ Savage, Jon, "Faster, but slower", Mojo, May 2006

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 03:00:49 am

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 03:01:04 am

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 03:01:53 am

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 03:03:29 am
Music of Manchester

The pop groups of the 1960s and early 1970s

Manchester had an impressive music scene before 1976, with groups like The Hollies, The Bee Gees, Herman's Hermits, Wayne Fontana and The Mindbenders, Freddie and the Dreamers in the sixties and Barclay James Harvest and 10cc in the early to mid seventies, and with Top of the Pops being recorded by the BBC in the city. In 1965 Herman's Hermits outsold the Beatles , selling over 10 million records in seven months[citation needed]. Manchester bands Freddie and The Dreamers, Wayne Fontana and The Mindbenders and Herman's Hermits topped the American Billboard charts consecutively between the middle of April 1965 and the end of May, with one week in 1965 where the three bands were numbers 1, 2 and 3 in the US Billboard top 100. With the exception of Graham Gouldman of 10cc and Eric Stewart of The Mindbenders (who built Strawberry studios in Stockport, Britain's first world class recording studio outside London) there was little reinvestment in Manchester from its successful sons and daughters.

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 03:04:28 am
The Sex Pistols at the Free Trade Hall; Punk Rock

On 4 June 1976, the Sex Pistols, at the invitation of Howard Devoto and Pete Shelley of Buzzcocks, played at the Lesser Free Trade Hall in Castlefield.[1] In an audience of less than 42 people, several key members of Manchester's future music scene were present: Tony Wilson Granada TV presenter and creator of Factory Records, Peter Hook, Bernard Sumner (of Joy Division & New Order), Morrissey - later to form The Smiths with Johnny Marr - producer Martin Hannett, and Mick Hucknall of Simply Red.

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 03:05:55 am
Another influential event was the release of Buzzcocks' Spiral Scratch EP in early 1977 - the first independent-label punk record. In the wake of The Buzzcocks releasing the first truly independent record onto the Punk scene, the old movers and shakers from Manchester music collective, Music Force who included producer Martin Hannett, Tosh Ryan and Lawrence Beadle formed a local label called Rabid Records who started putting out singles by local acts like Slaughter & The Dogs(Rob Gretton later to manage Joy Division/New Order was their roadie/tour manager- all Wythenshawe lads), John Cooper Clarke and Ed Banger & The Nosebleeds(whose lineup included Vini Reilly) and licensed Jilted John by Jilted John to EMI records. This record company coincided with Tony Wilson bringing the cream of both American and British punk; New Wave bands to the public on his acclaimed late night Granada Television show So It Goes. This meant that Manchester had the Sex Pistols on the TV long before they were on LWT with Bill Grundy (incidentally another Mancunian).

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 03:06:11 am
Unlike other major cities Manchester had The Sex Pistols Anarchy tour play twice at The Electric Circus and it was these gigs more than the small Lesser Free Trade Hall gigs which really lit a fire under Manchester's assorted musicians and gave them that do-it-yourself philosophy which defined British punk. When So It Goes finished on Granada , Tony Wilson still wanted an involvement in the local music scene, so started a night up at the old Russell Club in Hulme called The Factory along with his friends (soon to be business partners) Alan Erasmus and Alan Wise. Tony had been taking a great interest in Rabid Records and its set up and after working on the research for a feature for Granada TV about Rabid, he along with Alan Erasmus and Joy Division Manager Rob Gretton (the Ideal for Living EP had been distributed by Rabid) decided they would do their own version of Rabid Records, but instead of churning out singles and then licensing the album deals to major labels (Slaughter & The Dogs' debut appeared on Decca, John Cooper Clarke was licensed to CBS, and Jilted John to EMI) they would concentrate on albums. The first album following the Factory sampler EP (which included Joy Division, Cabaret Voltaire, and Od) was Unknown Pleasures by Joy Division, recorded at Strawberry Studios in Stockport.

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 03:06:23 am
Factory Records

Taking the Industrial Revolution as its model, Factory Records played upon Manchester's traditions, invoking at once apparently incongruous images of the industrial north and the glamorous pop art world of Andy Warhol. While labelmates A Certain Ratio and The Durutti Column each forged their own sound, it was Factory's Joy Division who somehow managed to grimly define what exactly it was to be a Mancunian as the 70s drew to an end. At the same time, and out of the same post punk energy, emerged Mark E. Smith's groundbreaking group The Fall, who would become one of the most inventive, original and prolific groups of the next three decades. New Order rose from the ashes of Joy Division combining rock, pop, and dance music to earn much critical acclaim while selling millions of records. The group that would ultimately become the definitive Manchester group of the 80s was The Smiths, led by Morrissey and Marr. With songs like 'Rusholme Ruffians' and 'Suffer Little Children', Morrissey sang explicitly about Manchester, creating songs that are as iconic of Manchester as the paintings of L.S.Lowry.

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 03:06:49 am

As the 80s drew to a close, a new energy arrived in Manchester, fuelled by the drug ecstasy. A new scene developed around The Haçienda night club (again part of the Factory Records ‘empire’), creating what would become known as the Madchester scene, – the main proponents being the Happy Mondays, The Inspiral Carpets, and The Stone Roses. The history of the Manchester music scene over this period was dramatised in Michael Winterbottom's 2002 film 24 Hour Party People.

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 03:07:53 am
The 1990s and after

After the "Madchester" period, Manchester music lost much of its provincial energy, though many successful and interesting acts were still to emerge. Other notable musical acts in Manchester have been Take That, 808 State, M People, Oasis, The Verve, Magazine, The Durutti Column, A Certain Ratio, James, Badly Drawn Boy, Chameleons, Charlatans, Simply Red, Cleopatra, Michael McGoldrick, Elbow, Monomania, I Am Kloot, Autechre, Lamb, Marconi Union, A Guy Called Gerald, Goldblade, Mr Scruff, Oceansize and Doves. Morrissey and The Fall still continue to garner critical acclaim while Oasis remain the most popular, having played to more than 1.7 million people worldwide during their Don't Believe the Truth tour of 2005 & early 2006.

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 03:08:08 am
The venues of the early 21st century

Manchester's biggest popular music venue is the Manchester Evening News Arena, which seats over twenty thousand, and is the largest arena of its type in Europe, with the City of Manchester Stadium and Old Trafford's cricket grounds also providing large ad-hoc open air venues outside of the sporting season. Other major venues include the Manchester Apollo and the Manchester Academy. There are over 30 smaller venues for signed and unsigned artists of all genres to perform in, ensuring that the music scene in Manchester constantly remains vibrant and interesting. An area known as the Northern Quarter, considered the cultural and musical heart of the city, houses some of the best known of these venues such as Band on the Wall, the Roadhouse and Night and Day Cafe, and various other venues exist in various pubs and clubs throughout the city.

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 03:08:28 am
Resources on the WWW

    * The definitive independent northern resource is available at:

ManchesterMusic - An independent website established in 1999 cataloguing hundreds of local acts and with thousands of reviews available on-line:-"Manchester Music".

    * Other major long established websites with music review content include :

BBC Manchester's indispensable Music & Entertainment Section:- "BBC Manchester: Music and Entertainment".

    * Manchester Evening News (includes City Life) Music Pages:

"Manchester Evening News Music section".

    * High Voltage—long running fanzine and local music site

"High Voltage (fanzine)".

    * Manchester is Music Radio - a free online local music station exclusively playing unsigned bands

"Manchester is Music".

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 03:08:52 am
Broadcast media

The region is now served well by its own local radio shows, notably some regular weekly slots on BBC Radio GMR. However the recent addition of London based commercial station Xfm in Manchester, has helped elevate the city's media facilities and Xfm has developed a real presence on the local live circuit, as the only daily on-air resource for local music.

The continued development of programming by TV broadcaster Channel M (part of the Guardian Media Group) has provided an opportunity for many contemporary unsigned acts to appear on live television and a healthy diet of interview shows, in studio sessions and in-venue recordings have boosted the profile of the North West's already diverse array of emerging talent.

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 03:09:15 am
Pop songs about Manchester

Many Manchester bands, and those from elsewhere who have been influenced by the city's musical heritage and unique atmosphere, have immortalised it in song - see List of songs about Manchester.

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 03:09:58 am

Royal Albert Hall, London, a major venue for all forms of music

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 03:10:51 am
Rob Gretton

Rob Gretton (January 15, 1953 - May 15, 1999) was best known as the manager of the post punk bands Joy Division and New Order. He was also a partner in Factory Records, proprietor of the Rob's Records label and a co-founder along with Tony Wilson of The Haçienda nightclub in Manchester, England.

Gretton's involvement with the Manchester scene began when he contributed £200 to co-finance Slaughter and the Dogs' first single, the punk classic "Cranked Up Really High". Between 1996 and 1999, he managed his last Manchester fledglings Gabrielles Wish, signing them to his own label, Rob's Records.

Gretton was a loyal supporter of Manchester City F.C..[1]He died in May 1999 at the age of 46 as the result of a heart attack.[2]

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 03:12:36 am

Gretton was portrayed by Paddy Considine in the 2002 film 24 Hour Party People, which documented the rise and fall of Factory Records, and by Toby Kebbell (who coincidentally plays Considine's brother in Dead Man's Shoes) in the 2007 film Control, a biopic of Joy Division singer Ian Curtis.

Title: Re: Joy Division
Post by: Therion on July 26, 2009, 03:12:55 am

   1. ^ “Get The Files” : Remembering Rob Gretton
   2. ^ Dickinson, Bob. "Rob Gretton". The Guardian, 21 May 1999. Retrieved on 8 February, 2009