Showing posts with label Joy Division. Show all posts
Showing posts with label Joy Division. Show all posts

Saturday, April 18, 2015

J is for… Joy Division

In the pages of Frank's APA we are running through the letters of the alphabet.I would not actually describe myself as the world's biggest fan of Joy Division, but they are a band I like. Their place in music history can easily be summarised. They start off as a Manchester punk/post-punk band. They develop in somewhat doomy directions, perhaps driven by the miserabilism of their lead singer, Ian Curtis. They are apparently on the brink of major success but then Curtis tops himself. And that is the end of that, except that the surviving members regroup, recruit the drummer's girlfriend on keyboards and continue under the new name of New Order.

Joy Division's career was short and they did not record that much, though I suppose two albums and a rake of singles in such a short time makes them remarkably productive. They have probably become more famous since the band's dissolution, with a cinematic documentary followed by a feature film telling the band's story; the Joy Division and Ian Curtis story was also an important part of that film 24 Hour Party People. They have been the subject of many articles by music journalists and several books.

So what do I have to add to this party? Probably not much. The big thing I have to say about Joy Division is that too much of the commentary on Joy Division focusses on Ian Curtis. I am not saying he is overrated as a frontman (though of course I never saw them live), as on record he is clearly a lead singer of power, possessed of a singular vision. What I am saying is that the emphasis on Curtis obscures the input of the band's other members and turns the whole enterprise inappropriately into Ian Curtis and his backing band. The fact that the surviving musicians were able to bounce back so effortlessly from the death of Curtis suggests to me that they were more than just his peons.

In listening to the music of Joy Division, it is apparent in so many of the tunes that the vocals are just part of the mix. The musicians' efforts create a claustrophobic and oppressive atmosphere as much as the singer's deep vocals and sinister lyrics. You only have to listen to the first two minutes or so of 'Dead Souls' to perceive the atmospheric qualities of the instrumental music on its own.

The other perhaps controversial thing I would say about Joy Division is that people sometimes over-emphasise the oppressive doominess of their music and miss the perky pop elements. 'Love Will Tear Us Apart Again' was released as a single after the death of Ian Curtis and will always be associated with his untimely passing. Yet despite the lyrics and their sad evocation of a dying relationship, the music is astonishingly joyous. From the triumphant intro to the surging rhythms that run through the tune, this is a song that calls feet irresistibly to the dance floor. I can imagine that in foreign countries where they do not know English local bands could cover this and sing it with cheery smiles on their faces. In days of yore I used to think it would be an ideal song for Steps to sing.

Joy Division's career was cut short but three of the band's members went on to form New Order, whose more dance floor friendly electronic music enjoyed considerable success. What is always a bit of a mystery is whether Joy Division would have progressed in similar directions to New Order in the event of Curtis remaining alive. It is a difficult question. In some ways early New Order and late Joy Division are not so very different to each other. Joy Division were becoming a bit more electronic and as noted above were not complete strangers to the lure of the dance floor. Early New Order meanwhile maintains a lot of the oppressiveness of Joy Division, as well as a lyrical miserabilism that they never definitively lost (though for tracks like 'World in Motion' it took a definite back seat). But there are other factors in play which may receive further discussion when I reach the letter N.

image source (Stereogum)

Tuesday, June 20, 2006

Nottingham Blues Explosion

They have some record shops in Nottingham, notably Selectadisc and Fopp. I did my best to keep them in business.

Kate Bush Aerial

You know, Kate Bush returns after years away with new album about cleaning her young fella’s kecks. It does not have the far-reaching madness of her earlier works, yet it is rather engaging. I struggle to remember any of the individual tunes (bar the washing machine one and the pi one), but the record washes over me oceanically when I listen to it, so on balance I will judge this a HIT.

The Fall 50,000 Fall Fans Can't Be Wrong

They were playing The Fall in Fopp while we were in there, I had had a little drink, and this little puppy was the result. And this is not even the record they were playing. This covers the band’s career from its earliest days to the relatively recent past. One thing I was struck by was how relatively stable the line-up was for a long period of time, with essentially the same people being in the band from the mid-1980s until the New York unpleasantness. This contrasts with the perception I had had of the Fall having a line-up that changed every week or two.

It was nice to renew my acquaintance with ‘Totally Wired’, though it’s a pity that neither ‘I’m Into CB’ nor ‘Who Makes The Nazis’ made the cut. And where’s ‘Glam Packet’? And all those other songs?

Cornershop Hold On, It Hurts

Bought so that I can complete the Cornershop album set on teh iPod. This is their first full album, still rather guitar heavy but with occasional twinges of sitary stuff or Wiija spoken word. I have always loved it, and demand satisfaction from anyone who asserts that ‘Born Disco, Died Heavy Metal’ era Cornershop somehow represents a time before they chose quality.

Joy Division Substance

Again, iPod fodder. Also, my vinyl copy skips on the odd track. My new theory on Joy Division is that people go on about Ian Curtis too much. Great as he is, he is not what makes the band, and Joy Division is at its least interesting on songs (like ‘Atmosphere’) which hang solely on his voice. You really see the converse on tracks like ‘Dead Souls’, where Curtis is almost irrelevant to the track’s brooding power.

I’m still waiting for some pop slappers to cover ‘Love Will Tear Us Apart’ in the style it deserves.

Ramones [first album]

The first couple of listenings had me thinking that this was grand but that all the songs really do sound the same. I’ve got into it more since then and started to realty get off on tracks like ‘53rd & 3rd'… man, being a psychotic rent boy in mid 70s New York, that must have been cool.

v/a Keeping The Faith: a Creation Records Dance compilation

What, fifteen years late I get a copy of this popular Creation Records dance compilation? This is great fun, featuring many of your favourite tunes, including the Jazz Butcher Conspiracy’s cover of ‘We Love You’, Terry Farley’s mix of ‘Loaded’, the dancey mix of ‘Soon’, and much much more. I like it.

“Charley Says”

This being a two DVD sets of public information films. It was nice to be frightened once more by old favourites like that one where the spectral figure lures children to their deaths in canals, or to marvel again at the extreme seriousness of the “Think Bike!” guy. There were also some I’d forgotten, like the water safety one with the grim voice over “She survived. You drowned”. What was it with the 1970s, were people always falling into stagnant pools of water?

The overall effect, though, of endless ads about people getting run over by cars is to generate a fear of leaving the house. But of course, you’re not safe there either, given that you could accidentally burn the place down around you. Blimey.