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Sunday, May 15, 2016

Joy Division: Unknown Pleasures (IAS #20)

New lamps for old today: after The Doors, it feels totally logical to cover

Joy Division: Unknown Pleasures


  1. I saw this film theatrically, and it's teriffic, even if you know nothing about the band (as I didn't when I saw it):

  2. Pretty boring, but, yes there would be no Kino, if it was not for Joy Division.

    1. I love Kino, but Joy Division out-dark them and New Order out-pop them.

  3. I didn't expect Georges opinion to be so positive and making it into a desert island disk. I'm happy to see it though. JD is one of my fave bands, although I prefer closer as UP sinks in at the last three songs, while Closer is just 9 winners for me (although I can see people not liking it for the dropping of the pop-punk sense there still is on UP for a more theatrical approach)

    Pretty much a perfect assessment from George, thumbs up for the review itself!

  4. Here we go again, George is saying that Joy Division are the pioneers, the cornerstone of post-punk, and the precursors of Gothic dark rock music. Simon Reynolds, get out of this body. Sorry to contradict George but this is completely untrue. Joy Division have never influenced Siouxsie and the Banshees. Listen to the song "Metal Postard" that Siouxsie and the Banshees first played on John Peel session radioshow in late 1977. Metal Postcard was a template for early Joy Division, with cold robotic human machine beats and angularity of the guitars. But no one has ever noticed. Metal Poscard was also recorded with deep big spacious production on their debut ''The Scream'' out in November 1978. I leave with this quote by Peter Hook: "Siouxsie and the Banshees were one of our big influences. [...] The Banshees' first lp was one of my favourite ever records, the way the guitarist and the drummer played was a really unusual way of playing and this album showcases a landmark performance."

  5. And there isn't anything theatrical in "The Scream" as it is a dark monochrome. Join Hands (1979) with its gothic overtones was the forerunner of Closer.