Posts Tagged ‘Joy Division’

New Order are one of the most unlikely success stories. When Joy Division frontman Ian Curtis committed suicide on May 18th, 1980 on the eve of their first U.S. tour, the three remaining members of the band — guitarist Bernard Sumner, bassist Peter Hook and drummer Stephen Morris — decided to carry on as New Order, drafting Morris’ girlfriend Gillian Gilbert on guitars and keyboards later that year. Though their first album, “Movement”, would be heavily indebted to Joy Division’s spectre, their interest in synthesizers — and their frequent trips to New York — would quickly change their sound. 1983’s landmark single “Blue Monday” -is still the best-selling 12″ single of all time — set them down a path as club hitmakers, and sunny synthpop tracks like “Bizarre Love Triangle” and “The Perfect Kiss” could not be any further away from Joy Division’s original stark, morose sound.

Through all this, New Order remained one of the most idiosyncratic bands of the ’80s, refusing to put singles on albums, shying away from press interviews and generally not appearing on camera in their music videos. They also never put away their rock band instruments and did more interesting things with guitar, bass and drums than most of their peers at the time. Their catalogue is robust and full of great songs — many of which easily could’ve been singles beyond the obvious ones that everyone knows.

With their 40th anniversary this year, Here are some of New Order’s best deep cuts, which are essential listening to anyone who already loves “Blue Monday,” “Love Vigilantes,” “Age of Consent,” “Ceremony,” “True Faith” or “Regret.” They range from indie-guitar pop, to club-ready bangers, and the kind of moody, introspective dance-rock hybrids that could’ve only be made by them.

“Power, Corruption & Lies” and “Low-Life” are just perfect albums, and Side 2 of “Technique” is up there too. I also stuck with the original 1980 – 1993 era of the band. The records from the 2000s-on, no non-single song from that era really seemed worthy of this list.

New Order — who are still an active band (though without Peter Hook since they reformed in 2011) — are a fantastic singles band, and everyone should own “Substance” there’s so much more beyond “Blue Monday.”

“Dreams Never End” (1981)

New Order were still underneath the shadow of Joy Division in 1981, a hard shackle to shake. Unsure how to progress after the death of Ian Curtis, both guitarist Bernard Sumner and Peter Hook sing lead on New Order’s debut album, “Movement”, and both sound like they’re trying to mimic him. “Dreams Never End,” which features Hooky on vocals, is musically bright and sunny, with Hook, Sumner and Gilbert’s instruments swirling around Stephen Morris’ insistent, danceable beat. The Cure would crib liberally from this for their 1986 single “Inbetween Days.

“Procession” (1981)

Following their debut single, “Ceremony” (which had been played live with Joy Division), their next release was “Procession” which felt like a natural progression from Joy Division’s Closer, with glacial synths washing over a frantic rhythm section and Bernard Sumner’s brittle guitars. Recorded and released before Movement, “Procession” nonetheless feels past it, with Bernard Sumner coming into his own as lead vocalist. While a single, “Procession” didn’t make it on to the main track list for 1987’s Substance, but was instead relegated to the bonus disc of the CD. But it’s a pivotal song in their evolution.

“Turn the Heater On” (1982 John Peel Session)

Keith Hudson’s “Turn the Heater On” was Ian Curtis’ favorite reggae song, says Peter Hook in his Substance memoir, saying it was where Bernard Sumner “got the got the idea for using the melodica,” an instrument which would turn up in New Order songs like “Your Silent Face” and “Love Vigilantes.” Barney’s only playing guitar at the end, after he’s stopped singing,” adds Hook, only kinda joking that “That became the whole template for the band.”

“The Village” (1983)

Power, Corruption & Lies is a perfect record, and none of the songs were released as singles — “Blue Monday” was tacked onto the U.S. CD release — so every song could theoretically fit on this list. There are moments of sadness and desolation, but there are also songs of unabashed joy. In much the same spirit as “Age of Consent,” “The Village” bounces along like the first day of spring with Sumner singing “Our love is like the flowers / The rain, the sea and the hours.” The mid-section instrumental — with guitars, synthesizers and drum machines joining forces — remains one of New Order’s most magical moments.

“The synths are incredible from 1:45 so in your face but not overpowering … then they disappear – my whole taste in music seemed to change because of this song” – The Charlatan’s Tim Burgess on “The Village”

“Leave Me Alone” (1983)

Many of New Order’s most genius moments come from the interplay between Peter Hook’s bass — which is almost always played high up on the neck to where some mistake it for guitar — and Bernard Sumner’s guitar. Is there a more perfect example than on Power Corruption & Lies’ closing track? The bass hook opens the song, but it’s when the chiming guitar lead enters that “Leave Me Alone” truly blooms. (Gillian Gilbert adds further, crucial, counterpoint guitar lines.) A grey-hued portrait of loneliness (“On a thousand islands in the sea / I see a thousand people just like me”), it’s one of New Order’s crowning achievements, fading out with two more minutes of gorgeous instrumental melancholia.

“Thieves Like Us” (1984)

This is the big concession to the singles rule on this list. While “Thieves Like Us” went to No#18 in the UK in 1984, it does not have the stature of “Bizarre Love Triangle,” “Temptation,” “Blue Monday,” “Sub-Culture,” “True Faith” or even LP tracks like “Age of Consent” or “Love Vigilantes.” But it is one of New Order’s best, most deeply emotive songs — it’s Peter Hook’s favourite track — that needs all six minutes and 36 seconds to work its magic. Bernard Sumner’s vocals doesn’t even come in till two-and-a-half minutes into the song, long after we’ve been seduced by the song’s NYC hip-hop inspired rhythm section and majestic washes of synths. While the song works well as an instrumental — it plays over the “making the dress” montage in Pretty in Pink — Sumner gives a great delivery with a whole lot of “Loves,” in his signature, fragile style.

“Lonesome Tonight” (1984)

“Lonesome Tonight” is, according to Peter Hook, New Order’s ode to Elvis Presley. Bernard Sumner was apparently obsessed with a version of “Lonesome Tonight” (where The King can’t stop laughing) and suggested to the rest of New Order they try jamming it on stage one night. That bit of C-F chord improvisation became this song, which Hook calls “a glorious tune even though it’s nothing like Elvis’, given away in true fashion as a b-side.” (It’s the flip to “Thieves Like Us.”) New Order rarely needed more than two chords to create something amazing (see all of Power, Corruption and Lies), and when the synthesizers crest halfway through, it evokes Joy Division’s “Atmosphere.” If you’re wondering, that is Peter Hook clearing his sinuses at the four-minute mark. “When Barney heard me hocking up phlegm into a handkerchief he suggested we put it on at the end because the contrast between something so beautiful and something so awful might be interesting. He was absolutely right.”

“Murder” (1984)

New Order have always had a way with instrumentals and this one’s a real tour-de-force, a pounding goth nightmare powered by Stephen Morris’ propulsive drumming, a sinister bass line from Hook and Sumner’s three-note, cyclical guitar hook. The song also makes great, creepy use of movie samples of Hal in 2001: A Space Odyssey and Malcolm McDowell in infamous big-budget softcore film Caligula. “Murder,” which has been covered by The Charlatans and K-X-P, was originally only released as a single in Belgium, but later appeared on the second disc of the Substance two-CD set.

“Elegia” (full version) (1985)

An ode to Ennio Morricone’s spaghetti western scores, specifically the pocket watch scene from A Few Dollars More, “Elegia” opens side two of 1985’s highly underrated “Low-Life”. While the five-minute instrumental is carefully paced, exploding into full Sergio Leone glory in the last minute, the original 17-minute version is even better. “Dylan Jones – then editor at id magazine –asked us if we’d like to do some music for a short 15-20 min art film,” Stephen Morris says. “We went into a studio in Wembley and did a marathon all night session. The film never happened, but we liked ‘Elegia’ so much it got edited down to fit on the LP.” As Morris says, “Hooky’s bass melodies on ‘Elegia’ are majestic.”

“Elegia” is one of three New Order tracks to also appear in Pretty in Pink (“Thieves Like Us” and “Shellshock” which appears on the soundtrack album, are the others), and you may have also heard it in Stranger Things, and the trailer for video game “Metal Gear Solid 5: Phantom Pain.”

“Sooner Than You Think” (1985)

Like “Power, Corruption and Lies”, “Low-Life” is a near-perfect album and picking from the many great songs is difficult. Following “Blue Monday” and “Thieves Like Us,” New Order really came into their own as far as blending rock and club music. While the albums that follow would more often than not have songs that were either “rock” or “synth,” Low-Life let things intermingle in wonderful and surprising ways. After a building, minute-long intro that is mostly guitar, bass and drums, “Sooner Than You Think” shifts gears and lets the keyboards take over. “A very unusual tune, showing exactly why I used to love New Order,” says Peter Hook in his memoir. “We were so versatile.” As the lyrics describe, the song was actually written after “a party in [New Order’s] hotel” in Zurich in 1984. “I think some members of the Furious Five were there, no Grandmaster Flash,” recalls Stephen Morris. “There was a very loud blaster in a very small room – other hotel guests were not amused – complaints were made, maybe I dreamt the Furious Five bit? But not the Swiss police though.”

Here’s a cool live in the studio version with Bernard Sumner wearing some very ’80s shorts:

“Face Up” (1985)

This one should’ve been a single. “When we first wrote “Face up” in early 1984 we thought it was the best thing ever,” says Stephen Morris. “Face Up” is another New Order song where two disparate parts have been grafted together, with an an atmospheric intro (“inspired by Caligula” says Hook) that then drastically shifts gears into music that all but demands you bounce up and down. Sonically, “Face Up” is pure ebullience, the kind few besides New Order can do with guitars, but the lyrics — “Oh how I cannot bear the thought of you” — are a decided kiss-off from a spurned lover. “I couldn’t understand why some people didn’t get Face Up’s euphoria, but maybe you had to be playing the drums to fully get that,” adds Morris.

“Way of Life” (1986)

As the ’80s progressed, New Order became more and more known as a synth pop band, but they remained a clever, inventive rock band on album tracks, as is evidenced by the entire first side of 1986’s Brotherhood. “Way of Life” closes out Side A, beginning with another gloomy fake-out intro before blossoming into a wonderful pop song with a chorus so infectious it seems impossible they would bury it this deep into the album. Hook says “We were trying to emulate ‘Age of Consent’ so I just played the riff backwards, and voilà.

“Every Little Counts” (1986)

New Order were guilty a few times over the years of what Peter Hook calls “five o’clock in the morning lyrics.” Sometimes that meant something special, like “you caught me at a bad time, so why don’t you piss off” (Power, Corruption & Lies’ “Your Silent Face”) and sometimes it gives you the opening lines to Brotherhood’s closing track. “Every second counts when I am with you / I think you are a pig, you should be in a zoo,” which Bernard Sumner cannot get through without laughing. (He also didn’t feel a need to do another take.) And yet, “Every Second Counts” is still pure gold, making great use of orchestral samples, harmony and Sumner’s winning “do de do de dooh” chorus. “Every Little Counts” is also a perfect album-closer, with a massive, woozy swell from their Emulator sampling keyboard — “with Barney holding all the keys down at once, using both arms” — and then a great final joke that definitely freaked out some vinyl listeners at the time.

“1963” (1987)

Like “The Perfect Kiss,” this b-side to 1987 single “True Faith” is a story-song about a doomed relationship — and perhaps firearms — set to ultra-catchy crystalline synth pop. There’s a case to be made that it’s better than the A-side (which was one of New Order’s biggest hits and their first entry into the Billboard Top 40). For people like Peter Hook who wished more of Peter Hook’s distinctive bass stylings made it into the the final product (it doesn’t show up till right before the slow fade out), Arthur Baker’s sublime remix adds in more string instruments — bass and guitar — throughout.

“Vanishing Point” (1989)

Both Stephen Morris and Peter Hook’s favorite song on 1989’s Technique, “Vanishing Point” is one of New Order’s finest electronic dance songs (and it really should’ve been a single instead of either “Fine Time” or “Run”). Like “Thieves Like Us,” this one is in no hurry to get to vocals, with the 90 second lead-in playing like an overture, leading us through the major melodic points; when Sumner does begin with “Grow up children don’t you suffer / at the hands of one another” it’s a cinematic experience. “Vanishing Point” has the best chorus on the album and the best breakdown and “drop” (before they called them that), that was clearly influenced by the two months spent in Ibiza making the album (and spending a lot of time at the clubs).

“Dream Attack” (1989)

The dance and rock tracks on Technique mostly stay in their individual lanes, but the album closes with the glorious “Dream Attack” that brings the whole record together, mixing ragged guitar solos, windswept acoustic guitars, sampled orchestra hits, sequencers and live drums — plus another great chorus — all together as only New Order can do. Bernard Sumner apparently had The Eagles’ “Hotel California” in mind with the song’s two-minute jam outro which, in their hands, works. Gillian Gilbert, who played those wonderful acoustic guitars, says, “To me, Dream Attack’ sums up the whole album. It’s bright breezy and uplifting…a good song to walk off into the sunset to.”

“Special” (1993)

New Order were not especially getting along in the early-’90s, but got back together to make a new album, as they were low on funds after their label Factory Records (which went belly-up the year prior) and their troubled Manchester club, The Hacienda, depleted their bank accounts. “Republic” was, by all accounts, not the most pleasant recording experience with Bernard Sumner and Peter Hook butting heads constantly. There’s not much of Hook’s signature bass on the album, but there is some unfortunate rapping by Sumner. Republic does contain “Regret,” one of their best-ever singles (a Top 40 hit in the US), and some of the old magic can also be found tucked away near the end of Side 2 with the sultry, moody “Special,” which is driven by Hook’s bass and another great chorus. Lyrically the song is perhaps referencing the demise of Factory Records or the group itself: “It was always special, like water down the drain.” New Order went on an eight-year hiatus not long after its release.

Both New Order and Joy Division were among the most successful artists on the Factory Records label, run by Granada television personality Tony Wilson, and partnered with Factory in the financing of the Manchester club The Haçienda. Speaking in 2009, fellow synthpop musician Phil Oakey described New Order’s slow-burn career as cult musicians as being unusually prolonged and effective: “If you want to make a lot of money out of pop, be number 3 a lot. Like New Order did

Peter Hook suggested that the band should stop touring. In early May 2007, Hook was interviewed by British radio originally to talk about his contribution to the debut album of Jane’s Addiction singer Perry Farrell’s new band Satellite Party – and stated that “Me and Bernard aren’t working together.” Further complicating the news, a website with support from New Order management, reported that according to “a source close to the band”, “The news about the split is false… New Order still exists despite what [Hook] said … Peter Hook can leave the band, but this doesn’t mean the end of New Order.” However, Sumner revealed in 2009 that he no longer wished to make music as New Order.

If you’re looking for a New Order live album chock full of their greatest hits, go pick up Live at the London Troxy or Live at Bestival 2012. If you’re looking for a New Order live album with a more unconventional setlist, a broader artistic vision and a 12-piece synthesizer orchestra, check out this new one, the arty-mathy, horrendously titled ?(No,12k,Lg,17Mif) New Order + Liam Gillick: So it goes.

In June 2017, New Order returned to the stage at Manchester’s Old Granada Studios where Joy Division made their television debut on Tony Wilson’s So It Goes programme in 1978. For the celebrated show ?(No,12k,Lg,17Mif) New Order + Liam Gillick: So it goes .., New Order deconstructed, rethought and rebuilt a wealth of material from throughout their career: familiar and obscure, old and new.

Featuring tracks such as Disorder, from Joy Divisions Unknown Pleasures and not played live for 30 years, up to 2015’s Plastic from New Order’s critically acclaimed Top 5 album Music Complete – this is the perfect document of those magical 5 nights.

The album was recorded live on 13th July 2017 and includes the full show and encore plus 3 additional tracks recorded over the residency to give listeners a full representation of the breadth of material performed.

Release Date: 12th July 2019

  • Limited Edition Triple album pressed on transparent coloured vinyl
  • Vinyl 1: Red Transparent
  • Vinyl 2: Light Green Transparent
  • Vinyl 3: Blue Transparent
  • Packaged in individual sleeves and into a hardback slipcase, all with spot gloss finish
  • 24 page 12″ sized booklet with silk finish containing exclusive imagery and text relating to the legendary event
  • Includes hi definition digital download of all 18 tracks

“There are intensely emotional scenes as New Order revisit their back catalogue on a grand scale, airing songs not heard for 30 years plus rapturously received tributes to the band’s fated predecessor, Joy Division
Guardian *****

“A perfect collision of old and new orders… a brilliantly theatrical mix”
The i News

“Outstanding… A stunning and artful setup. A highly effective marriage of synth strings and atmospheric textures that gives the songs a twist and a fresh coat of sonic paint”
Louder Than War

“A musical masterstroke with visuals to match”
Manchester Evening News

Joy Division – Closer

40th Anniversary Edition 180gm Crystal Clear Vinyl LP, Deluxe 12″ Singles

Joy Division recorded only two albums before singer Ian Curtis tragically took his own life in 1980, 40 years ago next week. But what the Manchester quartet lacked in longevity, they more than made up for in quality. The two albums were pioneering and helped shape the sound and mood of the alternative music that followed in the band’s wake.

Joy Division will be reissuing a 40th Anniversary Edition of their sophomore album “Closer”, pressed on 180gm Crystal Clear Vinyl LP, alongside Deluxe 12″ Singles of Atmosphere, Transmission and Love Will Tear Us Apart. Joy Division are reissuing their sophomore alongside some essential 12″ singles. thought you ought to know.

There were no singles from Closer The same day will also see the reissue of three non-album singles, “Transmission”, “Atmosphere” and “Love Will Tear Us Apart” on 180g 12-inch vinyl with remastered audio. These singles have never been repressed or reissued since Factory Records closed. Closer was of course the band’s last album. It was issued two months after Ian Curtis’ suicide (he died on 18th May 1980).  The Closer album isn’t remastered and uses the same mastering as on the 2015 vinyl reissues (which is from 2007).

Check out the new Closer packaging and watch a teaser video – and be sure to pick up the next issue of Uncut Magazine, out next week, which features the surviving members of Joy Division looking back at the making of “Love Will Tear Us Apart”.

Joy Division: Closer: 40th Anniversary Vinyl Bundle

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April 28th, 1980: Joy Division are in a disused T.J.Davidson rehearsal studio in Manchester filming their video for “Love Will Tear Us Apart.”

On this day, 40 years ago, Peter Hook, Bernard Sumner and Stephen Morris entered TJ Davidson’s Studios and turned on the cameras for the recording of “Love Will Tear Us Apart”, the only promotion video Joy Division ever recorded.

The clip was recorded by the band themselves during a rehearsal at T.J. Davidson’s studio on Little Peter Street in Manchester. The T.J. Davidson studios had already housed the band’s rehearsals at the beginning of their career.

The curiosities remain: In the intro to the video the door that opens and shuts has ‘Ian C’ carved into it; reportedly this was the beginning of an abusive message (the rest later erased) carved into the door by a spurned ex-girlfriend of Curtis’ during the band’s earlier work at the studio.
The video is browned out at points, unintentionally, but nevertheless a fitting aesthetic — along with the omission of Curtis’ trademark dancing, which instead is replaced with the frontman strumming on a Vox Phantom VI six string british guitar.

Official video for Love Will Tear Us Apart by Joy Division

Warner Music will issue a limited edition 40th anniversary version coloured vinyl edition of Joy Division‘s debut studio album “Unknown Pleasures” next month.

The album will be pressed on ‘ruby red’ 180g vinyl and will come packaged in alternative artwork – a white sleeve that resembles the original Peter Saville design concept.

In June 1979, Joy Division released the bleak masterpiece that is ‘Unknown Pleasures’, a record so majestic it changed the face of music. There can’t be many people left in the civilised world who haven’t, at one time or another, sat down and discussed the influence of ‘Unknown Pleasures’ over the last few decades. But reeling off a list of indebted bands that’s longer than time itself is now only one facet of why Joy Division’s first album is so significant.

The story of how Bernard Sumner, Peter Hook, Stephen Morris and Ian Curtis teamed up with their peerlessly innovative producer Martin Hannett to make the album is so fascinating that it has provided for more books that most people will read in their lives. That’s to say nothing of the numerous documentaries which have provided a nice little earner on the talking head circuit for anyone who spent more than two weeks in Manchester during the late 1970s. Let’s not forget the two major motion pictures — 24 Hour Party People and Control — that also depicted the album’s recording and which were widely celebrated for it.

This August will see Joy Division’s legendary bass player Peter Hook join forces with The Metropolitan Orchestra to bring his brand new project Joy Division Orchestrated to Australia. The shows will see classic tracks from the seminal UK post-punk outfit performed in a new light with a full orchestral arrangement. This is the first time that an original member of the group has taken part in such a project.

Ahead of the tour, we’ve decided to look back at the group’s 1979 seminal album Unknown Pleasures and the key players outside of the band – Hook, frontman Ian Curtis, drummer Stephen Morris, and guitarist Bernard Sumner – who helped shape the classic release.

Peter Saville – graphic designer

Even if you’re not familiar with the album itself, chances are you’ve seen its cover across someone’s t-shirt in Fitzroy, Newtown or anywhere else across the globe. Saville’s work goes much further than just Joy Division, and subsequently New Order, having gone on to produce artwork for the likes of Peter Gabriel (1986’s So), Martha & The Muffins (1980’s Metro Music), Wham! (1986’s Music From The Edge Of Heaven), Roxy Music (1980’s Flesh & Blood). He was a founding member of Factory Records, the label that would release Joy Division’s work. Last year, he redesigned Burberry’s logo and just this week, he walked the catwalk for Ferragamo.

Martin Hannett – producer

Hannett first met Hook, Curtis and Sumner between 1976 and 1977, when they first appeared as Warsaw and he was booking shows around Manchester; he added Warsaw to his roster soon after. In 1978, Hannett would first work with the group to produce their tracks Digital and Glass. Hannett would ultimately go on to record both Unknown Pleasures and their final work, Closer. He was tasked with producing U2’s debut album, Boy, but passed up the opportunity following the death of Curtis. Hannett work continues to influence long after his own death in 1991, at age 42, helping shape tracks from artists like Happy Mondays, Buzzcocks, Stone Roses and more in their formative years.

Rob Gretton – manager

Gretton met the group soon after they began booking shows with Hannett; it was during 1977 that they crossed paths at Rafters where Gretton was the venue’s resident DJ. He’d recently began managing local acts and the newly renamed Joy Division soon joined this roster. Gretton scored rights for the group’sIdeal For Living back from RCA Records early on and was fundamental in the transition from Joy Division to New Order. Following the dissolution of Factory Records in the ‘90s, he started his own Rob’s Records.

Tony Wilson & Alan Erasmus – Factory Records co-founders

Perhaps at the centre of the Joy Division world is the iconic, and infamous, Factory Records; the label that launched them. Founded in 1978, the label would go on to helm the Madchester music scene, in part through its influence with nightclub The Haçienda, which was co-owned by the members of New Order. Wilson would pass away in 2007, following a long career as a journalist in addition to his many music industry roles. Erasmus has kept a pretty low profile since the closure of Factory Records.

This new coloured vinyl edition of Unknown Pleasures will be released on 14th June 2019.

Lvy524

More stunning live material to come out of the vaults...Ian Curtis, Peter Hook and company recorded this live at the legendary Les Bains Douches in Paris on December 18th, 1979. Containing great versions of Love Will Tear Us Apart, Shadowplay, Atmosphere, Transmission, and more, this is one of the most classic live sets of the group’s storied career.

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In January of 1980 Joy Division kicked off a tour of The Netherlands, Belgium, and Germany with a show at the legendary Paradiso Club in Amsterdam. Little did anyone know that in less than 6 months, Ian Curtis would be dead, and the brief, brilliant run of the group would be over. This is a particularly heavy and deep set, with the band performing at their angular best, and Curtis in top form vocally. Essential live broadcast for any fan of Joy Division.

If you are not already acquainted with this gig at Paradiso in Amsterdam in 1980. Here’s some info from a blog. “The local support didn’t want to play so Joy Division stood in for them. They played two completely different sets for the price of one.” And how it was described in a fanzine at the time: ‘When I arrived at the Paradiso, it appeared that most of the regular visitors had decided to stay at home.

So the JOY DIVISION played for a handful of people only, two long sets, together around 70 minutes of excellent music. At that time only the first album and two singles had been released, so they played a lot of new songs that went down well with the small audience. The gig was (along with the PIL-gig in Bruxelles) the best I have ever seen. Fantastic bass playing by Peter Hook and a strained Ian Curtis.  The Paradiso management had lowered the ceiling to make things more intimate. It was a good idea. Shame to all the people who stayed at home’ SJC This is the most bootlegged live Joy Division show, but I’m not sure any of the bootlegs have sound this good. If they do, I certainly want to snag a copy.

Check the intensity on the live versions of tracks like “Transmission,” “Digital,” and “Disorder,” plus “A Means To An End,” “These Days,” and the timeless “Love Will Tear Us Apart.” 

The British group Joy Division wrote and recorded 43 songs and played over 120 shows in just 29 months between 1978 and 1980.

Having successfully toured the albums from Hooky’s previous bands for over eight years now, Peter Hook & the Light  have now reached the late eighties and early nineties albums of new order, “Technique” and “Republic” in their consecutive run and have announced a raft of new concert dates.

As has become their custom, all dates feature the Light performing an opening set of Joy Division material. 

‘Technique’, New Order’s fifth studio album chronicles the impact of acid house on the band, marking the clearest statement of the rock and dance influences which were shaping their output. released in january 1989, just after the bands infamous G-mex gig and aftershow downstairs at the Hacienda in december the previous year, it became New Order’s first album to go to number one in the UK. it was also hugely successful in the united states where the influence of Quincy Jones’ Qwest label regularly got the band’s singles to the top of the american dance charts, ‘Technique’ was driven by the classic acid house single “fine time” which rivals “Blue Monday” as probably the most openly dance orientated record the group ever produced whilst other tracks on the lp “Round and Round”, “Mr disco” and “Vanishing Point” also reflect the dance sensibilities then fusing their way into New Order’s sound. yet like on its predecessor, “Brotherhood”, these are balanced by the vocal led, more rock leaning “All the Way”, “Gulity Partner” and “Run”.

legendarily recorded in ibiza in 1988, ‘Technique’ has often been observed to capture the sound of that summer and the heady period back them both on the island and in the uk and of course, Manchester. as is widely known, the band didn’t actually do much work in ibiza, a jaunt that Factory label boss Tony Wilson once told Peter Hook “was the most expensive f*cking holiday you’ve ever been on”. the band returned to the UK to finish the lp at Bath’s Real World studios later in 1988, itself the scene of another legendary New Order party when recording was completed.

In many ways, ‘Technique’ epitomised its time and the culture surrounding it. it came out to generally ecstatic reviews from the top notch echelons of the music press. in the uk, melody maker called it “a rare and ravishing triumph” whilst nme proclaimed the band “had fashioned an lp of rare and unflinching honesty”. across in the states, spin called it New Order’s best ever album, rolling stone referred to its “sonic presence with immaculate playing” and pitchfork sum up the album simply as “magnificent.”

“placed in the perfect position to deliver the definitive alternative take on house music, the band produced another classic record” – all music

Many consider ‘Technique’ to mark the high point of New Order and as they went on from the album to headline Reading festival in august 1989, before going on hiatus and also pursuing their solo projects, this is generally thought of as the golden period for the band.

due to the well documented history surrounding ‘Republic’, it is remarkably difficult to characterise it as sharing the same sunny outlook as ‘Technique’ but Hooky’s decision to include it in these concerts underline his commitment to perform all of his catalogue that he has committed to record. Not that ‘Republic’ wasn’t hugely successful. again it went to number one in the UK and became the band’s biggest ever selling album in america, narrowly missing the billboard album chart top ten peaking at number 11.

however it is not unknown that it was new order’s most difficult album to make. Factory records had hit financial trouble and needed a new order album to bail themselves out so the band were coerced into recording the album in to save Factory. something that didn’t entirely work out as Factory was then to go bankrupt in november 1992 and New Order then signed to London Records, an offshoot of warner bros with ‘republic’ released in may 1993.

The band roared back with first single “Regret”, still thought of as one of their finest ever, and subsequent singles “Ruined in a Day” and “World” did well, both in their original versions and as remixes which again dominated the dance charts.

It’s not hard to deduce that the demise of Factory, coupled with the ongoing difficulties surrounding the band’s involvement in Manchester’s Hacienda as well as internal friction within New Order and due to the band members’ solo projects, all had an impact on the recording sessions and mood that lies behind “republic, something that Stephen Hague did his utmost to assuage in producing the lp.

Still considered a worthwhile addition by fans to New Order’s catalogue, yet, if not perhaps hitting the standards they had previously set for themselves, ‘Republic’ did receive some strong reviews. nme’s dele fadele awarded it 8/10 on release whilst all music commented that “‘Republic’ simply borrows elements of contemporary innovations in club music to frame a set of effortlessly enjoyable alternative pop songs.”

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Philadelphian indie quartet The Districts have shared a cover of Joy Division’s famous 1980 single, “Love Will Tear Us Apart.”

The band’s cover is accompanied by a series of moving, flashing images of scientists performing ominous experiments. The Districts frontman Rob Grote adds a more animated take on Ian Curtis’ famously strange deadpan vocals while the band turns Joy Division’s jolting post-punk into a warm, indie-rock sound that Districts fans will recognize in an instant.

The Districts recently released a limited edition 7”, “Nighttime Girls” backed by b-side “Soft Auxiliary,” via their Bandcamp page. “Nighttime Girls” is a gritty garage-pop/rock tune, which the band says is “about the allure of escapism and a character’s general preoccupation with shallowness and neon light.”

After touring with Chicago’s Twin Peaks in support of The District’s 2017 LP, Popular Manipulations, they’ll be making a stop at various Festival’s, as well as some additional headlining shows and festivals across the U.K. and Europe.

The band’s latest album, Popular Manipulations resembles a sunset that’s far more than ordinary, the red sky at night before the darkness of the latest hours. It’s an album thats not letting anyone down.”

The Districts cover Joy Division’s classic “Love Will Tear Us Apart” along with moving images.

Peter Hook will release four new live albums this spring on CD, digital and vinyl, each capturing a performance of a different full album  Joy Division’s “Unknown Pleasures” and “Closer”, and New Order’s “Movement” and “Power, Corruption & Lies” — recorded over the past few years.

The albums will first be released as limited-edition colored-vinyl pressings on Record Store Day 2017 on April 22nd. A worldwide CD and digital release will follow on May 5th.

Unknown Pleasures Tour 2012: Live in Leeds,

Closer Live Tour 2011: Live in Manchester,

Movement Tour 2013: Live in Dublin,

Power, Corruption & Lies Tour 2013: Live in Dublin 

Full tracklists have not yet been released, but each live album features a full performance of that partcular record by Peter Hook & The Light, plus additional era-appropriate tracks fleshing out the sets.

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LOW – ” Transmission “

Posted: September 11, 2015 in MUSIC
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18 years ago the Minnesota slowcore vets, Low, released their Transmission Ep. At six tracks it housed two covers – “Jack Smith” (a Supreme Dicks cover), and a glacial rendition of Joy Division’s “Transmission“, from which the Ep took its name.