Joy Division

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This article is about the band. Joy Division_sentence_0

For other uses, see Joy Division (disambiguation). Joy Division_sentence_1

Joy Division_table_infobox_0

Joy DivisionJoy Division_header_cell_0_0_0
Background informationJoy Division_header_cell_0_1_0
Also known asJoy Division_header_cell_0_2_0 Warsaw (1977–1978)Joy Division_cell_0_2_1
OriginJoy Division_header_cell_0_3_0 Salford, EnglandJoy Division_cell_0_3_1
GenresJoy Division_header_cell_0_4_0 Joy Division_cell_0_4_1
Years activeJoy Division_header_cell_0_5_0 1976–1980Joy Division_cell_0_5_1
LabelsJoy Division_header_cell_0_6_0 Joy Division_cell_0_6_1
Associated actsJoy Division_header_cell_0_7_0 New OrderJoy Division_cell_0_7_1
WebsiteJoy Division_header_cell_0_8_0 Joy Division_cell_0_8_1
Past membersJoy Division_header_cell_0_10_0 Joy Division_cell_0_10_1

Joy Division were an English rock band formed in Salford in 1976. Joy Division_sentence_2

The group consisted of vocalist Ian Curtis, guitarist/keyboardist Bernard Sumner, bassist Peter Hook and drummer Stephen Morris. Joy Division_sentence_3

Sumner and Hook formed the band after attending a Sex Pistols concert. Joy Division_sentence_4

While Joy Division's first recordings were heavily influenced by early punk, they soon developed a sound and style that made them one of the pioneers of the post-punk movement. Joy Division_sentence_5

Their self-released 1978 debut EP An Ideal for Living drew the attention of the Manchester television personality Tony Wilson, who signed them to his independent label Factory Records. Joy Division_sentence_6

Their debut album Unknown Pleasures, recorded with producer Martin Hannett, was released in 1979. Joy Division_sentence_7

Curtis suffered from personal problems including a failing marriage, depression, and epilepsy. Joy Division_sentence_8

As the band's popularity grew, Curtis's condition made it increasingly difficult for him to perform; he occasionally experienced seizures on stage. Joy Division_sentence_9

He died by suicide on the eve of the band's first US/Canada tour in May 1980, aged 23. Joy Division_sentence_10

Joy Division's second and final album, Closer, was released two months later; it and the single "Love Will Tear Us Apart" became their highest charting releases. Joy Division_sentence_11

The remaining members regrouped under the name New Order. Joy Division_sentence_12

They were successful throughout the next decade, blending post-punk with electronic and dance music influences. Joy Division_sentence_13

History Joy Division_section_0

Formation Joy Division_section_1

On 4 June 1976, childhood friends Bernard Sumner and Peter Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Joy Division_sentence_14

Both were inspired by the Pistols' performance. Joy Division_sentence_15

Sumner said that he felt the Pistols "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". Joy Division_sentence_16

The following day Hook borrowed £35 from his mother to buy a bass guitar. Joy Division_sentence_17

They formed a band with Terry Mason, who had also attended the gig; Sumner bought a guitar, and Mason a drum kit. Joy Division_sentence_18

After their schoolfriend Martin Gresty declined an invitation to join as vocalist after getting a job at a factory, the band placed an advertisement for a vocalist in the Manchester Virgin Records shop. Joy Division_sentence_19

Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Joy Division_sentence_20

Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. Joy Division_sentence_21

If we liked someone, they were in." Joy Division_sentence_22

Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but the band settled on "Warsaw" shortly before their first gig, a reference to David Bowie's song "Warszawa". Joy Division_sentence_23

Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. Joy Division_sentence_24

Tony Tabac played drums that night after joining the band two days earlier. Joy Division_sentence_25

Reviews in the NME by Paul Morley and in Sounds by Ian Wood brought them immediate national exposure. Joy Division_sentence_26

Mason became the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band The Panik. Joy Division_sentence_27

Brotherdale tried to get Curtis to leave the band and join The Panik, and even had Curtis audition. Joy Division_sentence_28

In July 1977, Warsaw recorded five demo tracks at Pennine Sound Studios, Oldham. Joy Division_sentence_29

Uneasy with Brotherdale's aggressive personality, the band fired him soon after the sessions: 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 drove off. Joy Division_sentence_30

In August 1977, Warsaw placed an advertisement in a music shop window seeking a replacement drummer. Joy Division_sentence_31

Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Joy Division_sentence_32

Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the band, and that with his addition Warsaw became a "complete 'family'". Joy Division_sentence_33

To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing the name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. Joy Division_sentence_34

In December, the group recorded their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at the Swinging Apple in Liverpool. Joy Division_sentence_35

Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester. Joy Division_sentence_36

Early releases Joy Division_section_2

Joy Division were approached by RCA Records to record a cover of Nolan "N.F." Joy Division_sentence_37 Porter's "Keep on Keepin' On" at a Manchester recording studio. Joy Division_sentence_38

The band spent late March and April 1978 writing and rehearsing material. Joy Division_sentence_39

During the Stiff/Chiswick Challenge concert at Manchester's Rafters club on 14 April, they caught the attention of music producer Tony Wilson and manager Rob Gretton. Joy Division_sentence_40

Curtis berated Wilson for not putting the group on his Granada Television show So It Goes; Wilson responded that Joy Division would be the next band he would showcase on TV. Joy Division_sentence_41

Gretton, the venue's resident DJ, was so impressed by the band's performance that he convinced them to take him on as their manager. Joy Division_sentence_42

Gretton, whose "dogged determination" was later credited for much of the band's public success, contributed the business skills to provide Joy Division with a better foundation for creativity. Joy Division_sentence_43

Joy Division spent the first week of May 1978 recording at Manchester's Arrow Studios. Joy Division_sentence_44

The band were unhappy with the Grapevine Records head John Anderson's insistence on adding synthesiser into the mix to soften the sound, and asked to be dropped from the contract with RCA. Joy Division_sentence_45

Joy Division made their recorded debut in June 1978 when the band self-released An Ideal for Living, and two weeks later their track "At a Later Date" was featured on the compilation album Short Circuit: Live at the Electric Circus (which had been recorded live in October 1977). Joy Division_sentence_46

In the Melody Maker review, Chris Brazier said that it "has the familiar rough-hewn nature of home-produced records, but they're no mere drone-vendors—there are a lot of good ideas here, and they could be a very interesting band by now, seven months on". Joy Division_sentence_47

The packaging of An Ideal for Living—which featured a drawing of a Hitler Youth member on the cover—coupled with the nature of the band's name fuelled speculation about their political affiliations. Joy Division_sentence_48

While Hook and Sumner later said they were intrigued by fascism at the time, Morris believed that the group's dalliance with Nazi imagery came from a desire to keep memories of the sacrifices of their parents and grandparents during World War II alive. Joy Division_sentence_49

He argued that accusations of neo-Nazi sympathies merely provoked the band "to keep on doing it, because that's the kind of people we are". Joy Division_sentence_50

In September 1978, Joy Division made their television debut performing "Shadowplay" on So It Goes, with an introduction by Wilson. Joy Division_sentence_51

In October, Joy Division contributed two tracks recorded with producer Martin Hannett to the compilation double-7" EP A Factory Sample, the first release by Tony Wilson's record label, Factory Records. Joy Division_sentence_52

In the NME review of the EP, Paul Morley praised the band as "the missing link" between Elvis Presley and Siouxsie and the Banshees. Joy Division_sentence_53

Joy Division joined Factory's roster, after buying themselves out of the RCA deal. Joy Division_sentence_54

Gretton was made a label partner to represent the interests of the band. Joy Division_sentence_55

On 27 December, during the drive home from gig at the Hope and Anchor in London, Curtis suffered his first recognised severe epileptic seizure and was hospitalised. Joy Division_sentence_56

Meanwhile, Joy Division's career progressed, and Curtis appeared on the 13 January 1979 cover of NME. Joy Division_sentence_57

That month the band recorded their session for BBC Radio 1 DJ John Peel. Joy Division_sentence_58

According to Deborah Curtis, "Sandwiched in between these two important landmarks was the realisation that Ian's illness was something we would have to learn to accommodate". Joy Division_sentence_59

Unknown Pleasures and breakthrough Joy Division_section_3

Joy Division's debut album, Unknown Pleasures, was recorded at Strawberry Studios, Stockport, in April 1979. Joy Division_sentence_60

Producer Martin Hannett significantly altered their live sound, a fact that greatly displeased the band at the time; however, in 2006, Hook said that in retrospect Hannett had done a good job and "created the Joy Division sound". Joy Division_sentence_61

The album cover was designed by Peter Saville, who went on to provide artwork for future Joy Division and New Order releases. Joy Division_sentence_62

Unknown Pleasures was released in June and sold through its initial pressing of 10,000 copies. Joy Division_sentence_63

Wilson said the success turned the indie label into a true business and a "revolutionary force" that operated outside of the major record label system. Joy Division_sentence_64

Reviewing the album for Melody Maker, writer Jon Savage described the album as an "opaque manifesto" and declared it "one of the best, white, English, debut LPs of the year". Joy Division_sentence_65

Joy Division performed on Granada TV again in July 1979, and made their only nationwide TV appearance in September on BBC2's Something Else. Joy Division_sentence_66

They supported the Buzzcocks in a 24-venue UK tour that began that October, which allowed the band to quit their regular jobs. Joy Division_sentence_67

The non-album single "Transmission" was released in November. Joy Division_sentence_68

Joy Division's burgeoning success drew a devoted following who were stereotyped as "intense young men dressed in grey overcoats". Joy Division_sentence_69

Closer and health problems Joy Division_section_4

Joy Division toured Europe in January 1980. Joy Division_sentence_70

Although the schedule was demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. Joy Division_sentence_71

That March, the band recorded their second album, Closer, with Hannett at London's Britannia Row Studios. Joy Division_sentence_72

That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A-side and "Dead Souls" as the B-side, on the French independent label Sordide Sentimental. Joy Division_sentence_73

A lack of sleep and long hours destabilised Curtis's epilepsy, and his seizures became almost uncontrollable. Joy Division_sentence_74

He often had seizures during performances, which some audience members believed were part of the performance. Joy Division_sentence_75

The seizures left him feeling ashamed and depressed, and the band became increasingly worried about Curtis's condition. Joy Division_sentence_76

On 7 April 1980, Curtis attempted suicide by overdosing on his anti-seizure medication, phenobarbitone. Joy Division_sentence_77

The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Joy Division_sentence_78

Curtis was too ill to perform, so at Gretton's insistence the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs. Joy Division_sentence_79

When Topping came back towards the end of the set, some audience members threw bottles at the stage. Joy Division_sentence_80

Curtis's ill health led to the cancellation of several other gigs that April. Joy Division_sentence_81

Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis. Joy Division_sentence_82

Hannett's production has been widely praised. Joy Division_sentence_83

However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Joy Division_sentence_84

Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. Joy Division_sentence_85

He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again ... Martin had fucking melted the guitar with his Marshall Time Waster. Joy Division_sentence_86

Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. Joy Division_sentence_87

I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off." Joy Division_sentence_88

Curtis' suicide and aftermath Joy Division_section_5

Joy Division were scheduled to commence their first US/Canada tour in May 1980. Joy Division_sentence_89

Curtis had expressed enthusiasm about the tour, but his relationship with his wife, Deborah, was under strain; Deborah was excluded from the band's inner circle, and Curtis was having an affair with Belgian journalist and music promoter Annik Honoré, whom he met on tour in Europe in 1979. Joy Division_sentence_90

He was also anxious about how American audiences would react to his epilepsy. Joy Division_sentence_91

The evening before the band were due to depart for America, Curtis returned to his Macclesfield home to talk to Deborah. Joy Division_sentence_92

He asked her to drop an impending divorce suit, and asked her to leave him alone in the house until he caught a train to Manchester the following morning. Joy Division_sentence_93

Early on 18 May 1980, having spent the night watching the Werner Herzog film Stroszek, Curtis hanged himself in his kitchen. Joy Division_sentence_94

Deborah discovered his body later that day when she returned. Joy Division_sentence_95

The suicide shocked the band and their management. Joy Division_sentence_96

In 2005, Wilson said: "I think all of us made the mistake of not thinking his suicide was going to happen ... We all completely underestimated the danger. Joy Division_sentence_97

We didn't take it seriously. Joy Division_sentence_98

That's how stupid we were." Joy Division_sentence_99

Music critic Simon Reynolds said Curtis's suicide "made for instant myth". Joy Division_sentence_100

Jon Savage's obituary said that "now no one will remember what his work with Joy Division was like when he was alive; it will be perceived as tragic rather than courageous". Joy Division_sentence_101

In June 1980, Joy Division's single "Love Will Tear Us Apart" was released, which hit number thirteen on the UK Singles Chart. Joy Division_sentence_102

In July 1980, Closer was released, and peaked at number six on the UK Albums Chart. Joy Division_sentence_103

NME reviewer Charles Shaar Murray wrote, "Closer is as magnificent a memorial (for 'Joy Division' as much as for Ian Curtis) as any post-Presley popular musician could have." Joy Division_sentence_104

Morris said that even without Curtis's death, it is unlikely that Joy Division would have endured. Joy Division_sentence_105

The members had made a pact long before Curtis's death that, should any member leave, the remaining members would change the band name. Joy Division_sentence_106

The band re-formed as New Order, with Sumner on vocals; they later recruited Morris's girlfriend Gillian Gilbert as keyboardist and second guitarist. Joy Division_sentence_107

Gilbert had befriended the band and played guitar at a Joy Division performance when Curtis had been unable to play. Joy Division_sentence_108

New Order's debut single, "Ceremony" (1981), was formed from the last two songs written with Curtis. Joy Division_sentence_109

New Order struggled in their early years to escape the shadow of Joy Division, but went on to achieve far greater commercial success with a different, more upbeat and dance-orientated sound. Joy Division_sentence_110

Various Joy Division outtakes and live material have been released. Joy Division_sentence_111

Still, featuring live tracks and rare recordings, was issued in 1981. Joy Division_sentence_112

Factory issued the Substance compilation in 1988, including several out-of-print singles. Joy Division_sentence_113

Permanent was released in 1995 by London Records, which had acquired the Joy Division catalogue after Factory's 1992 bankruptcy. Joy Division_sentence_114

A comprehensive box set, Heart and Soul, appeared in 1997. Joy Division_sentence_115

Musical style Joy Division_section_6

Sound Joy Division_section_7

Joy Division took time to develop their style and quickly evolved from their punk roots. Joy Division_sentence_116

Their sound during their early inception as Warsaw was described as fairly generic and "undistinguished punk-inflected hard-rock". Joy Division_sentence_117

Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. Joy Division_sentence_118

According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." Joy Division_sentence_119

According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". Joy Division_sentence_120

In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. Joy Division_sentence_121

He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. Joy Division_sentence_122

When Hooky played low, he couldn't hear himself. Joy Division_sentence_123

Steve has his own style which is different to other drummers. Joy Division_sentence_124

To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge." Joy Division_sentence_125

By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands). Joy Division_sentence_126

Sumner largely acted as the band's director, a role he continued in New Order. Joy Division_sentence_127

While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Joy Division_sentence_128

Curtis hated playing guitar, but the band insisted he do so. Joy Division_sentence_129

Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". Joy Division_sentence_130

During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody. Joy Division_sentence_131

Producer Martin Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Joy Division_sentence_132

Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. Joy Division_sentence_133

The producer instead aimed to create a more expansive sound on the group's records. Joy Division_sentence_134

Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. Joy Division_sentence_135

They didn't argue". Joy Division_sentence_136

Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Joy Division_sentence_137

Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Joy Division_sentence_138

Music journalist Richard Cook noted that Hannett's role was "crucial". Joy Division_sentence_139

There are "devices of distance" in his production and "the sound is an illusion of physicality". Joy Division_sentence_140

Lyrics Joy Division_section_8

Curtis was the band's sole lyricist, and he typically composed his lyrics in a notebook, independently of the eventual music to evolve. Joy Division_sentence_141

The music itself was largely written by Sumner and Hook as the group jammed during rehearsals. Joy Division_sentence_142

Curtis's imagery and word choice often referenced "coldness, pressure, darkness, crisis, failure, collapse, loss of control". Joy Division_sentence_143

In 1979, NME journalist Paul Rambali wrote, "The themes of Joy Division's music are sorrowful, painful and sometimes deeply sad." Joy Division_sentence_144

Music journalist Jon Savage wrote that "Curtis's great lyrical achievement was to capture the underlying reality of a society in turmoil, and to make it both universal and personal," while noting that "the lyrics reflected, in mood and approach, his interest in romantic and science-fiction literature." Joy Division_sentence_145

Critic Robert Palmer wrote that William S. Burroughs and J. Joy Division_sentence_146 G. Ballard were "obvious influences" to Curtis, and Morris also remembered the singer reading T. Joy Division_sentence_147 S. Eliot. Joy Division_sentence_148

Deborah Curtis also remembered Curtis reading works by writers such as Fyodor Dostoevsky, Friedrich Nietzsche, Jean-Paul Sartre, Franz Kafka, and Hermann Hesse. Joy Division_sentence_149

Curtis was unwilling to explain the meaning behind his lyrics and Joy Division releases were absent of any lyric sheets. Joy Division_sentence_150

He told the fanzine Printed Noise, "We haven't got a message really; the lyrics are open to interpretation. Joy Division_sentence_151

They're multidimensional. Joy Division_sentence_152

You can read into them what you like." Joy Division_sentence_153

The other Joy Division members have said that at the time, they paid little attention to the contents of Curtis' lyrics. Joy Division_sentence_154

In a 1987 interview with Option, Morris said that they "just thought the songs were sort of sympathetic and more uplifting than depressing. Joy Division_sentence_155

But everyone's got their own opinion." Joy Division_sentence_156

Deborah Curtis recalled that only with the release of Closer did many who were close to the singer realise "[h]is intentions and feelings were all there within the lyrics". Joy Division_sentence_157

The surviving members regret not seeing the warning signs in Curtis's lyrics. Joy Division_sentence_158

Morris said that "it was only after Ian died that we sat down and listened to the'd find yourself thinking, 'Oh my God, I missed this one'. Joy Division_sentence_159

Because I'd look at Ian's lyrics and think how clever he was putting himself in the position of someone else. Joy Division_sentence_160

I never believed he was writing about himself. Joy Division_sentence_161

Looking back, how could I have been so bleedin' stupid? Joy Division_sentence_162

Of course he was writing about himself. Joy Division_sentence_163

But I didn't go in and grab him and ask, 'What's up?' Joy Division_sentence_164

I have to live with that". Joy Division_sentence_165

Live performances Joy Division_section_9

In contrast to the sound of their studio recordings, Joy Division typically played loudly and aggressively during live performances. Joy Division_sentence_166

The band were especially unhappy with Hannett's mix of Unknown Pleasures, which reduced the abrasiveness of their live sound for a more cerebral and ghostly sound. Joy Division_sentence_167

According to Sumner "the music was loud and heavy, and we felt that Martin had toned it down, especially with the guitars". Joy Division_sentence_168

During their live performances, the group did not interact with the audience; according to Paul Morley, "During a Joy Division set, outside of the songs, you'll be lucky to hear more than two or three words. Joy Division_sentence_169

Hello and goodbye. Joy Division_sentence_170

No introductions, no promotion." Joy Division_sentence_171

Curtis would often perform what became known as his "'dead fly' dance", as if imitating a seizure; his arms would "start flying in [a] semicircular, hypnotic curve". Joy Division_sentence_172

Simon Reynolds noted that Curtis's dancing style was reminiscent of an epileptic fit, and that he was dancing in the manner for some months before he was diagnosed with epilepsy. Joy Division_sentence_173

Live performances became problematic for Joy Division, due to Curtis's condition. Joy Division_sentence_174

Sumner later said, "We didn't have flashing lights, but sometimes a particular drum beat would do something to him. Joy Division_sentence_175

He'd go off in a trance for a bit, then he'd lose it and have an epileptic fit. Joy Division_sentence_176

We'd have to stop the show and carry him off to the dressing room where he'd cry his eyes out because this appalling thing had just happened to him". Joy Division_sentence_177

Influences Joy Division_section_10

Sumner wrote that Curtis was inspired by artists such as the Doors, Iggy Pop, David Bowie, Kraftwerk, the Velvet Underground and Neu!. Joy Division_sentence_178

Hook has also related that Curtis was particularly influenced by Iggy Pop's stage persona. Joy Division_sentence_179

The group were inspired by Kraftwerk's "marriage between humans and machines", and the inventiveness of their electronic music. Joy Division_sentence_180

Joy Division played Trans-Europe Express through the PA before they went on stage, "to get a momentum". Joy Division_sentence_181

Bowie's "Berlin Trilogy" elaborated with Brian Eno, influenced them; the "cold austerity" of the synthesisers on the b-sides of Heroes and Low albums, was a "music looking at the future". Joy Division_sentence_182

Morris cited the "unique style" of Velvet Underground's Maureen Tucker and the motorik drum beats, from Neu! Joy Division_sentence_183

and Can. Joy Division_sentence_184

Morris also credited Siouxsie and the Banshees because their "first drummer Kenny Morris played mostly toms" and "the sound of cymbals was forbidden". Joy Division_sentence_185

Hook said that "Siouxsie and the Banshees were one of our big influences ... Joy Division_sentence_186

The way the guitarist and the drummer played was a really unusual way of playing". Joy Division_sentence_187

Hook drew inspiration from the style of bassist Jean-Jacques Burnel and his early material with the Stranglers; he also credited Carol Kaye and her musical basslines on early 1970s work of the Temptations. Joy Division_sentence_188

Sumner mentioned "the raw, nasty, unpolished edge" in the guitars of the Rolling Stones, the simple riff of "Vicious" on Lou Reed's Transformer, and Neil Young. Joy Division_sentence_189

His musical horizon went up a notch with Jimi Hendrix, he realised "it wasn't about little catchy tunes ... it was what you could do sonically with a guitar." Joy Division_sentence_190

Legacy Joy Division_section_11

Despite their short career, Joy Division have exerted a wide-reaching influence. Joy Division_sentence_191

John Bush of AllMusic argues that Joy Division "became the first band in the post-punk movement by ... emphasizing not anger and energy but mood and expression, pointing ahead to the rise of melancholy alternative music in the '80s." Joy Division_sentence_192

Joy Division have influenced bands including their contemporaries the Cure and U2, to later acts such as Bloc Party, Editors, Interpol, Courtney Love, Oasis, The Proclaimers, and Soundgarden. Joy Division_sentence_193

Speaking to RTÉ Radio in 1980, after Ian Curtis' death, Bono said that Joy Division were "one of the most important bands of the last four or five years", and noted similarities between the two bands. Joy Division_sentence_194

He had also called Factory Records' owner Tony Wilson "to tell him U2 would pick up where [Joy Division] left off". Joy Division_sentence_195

Rapper Danny Brown named his album Atrocity Exhibition after the Joy Division song, whose title was partially inspired by the 1970 J. G. Ballard collection of condensed novels of the same name. Joy Division_sentence_196

In 2005 both New Order and Joy Division were inducted into the UK Music Hall of Fame. Joy Division_sentence_197

The band's dark and gloomy sound, which Martin Hannett described in 1979 as "dancing music with Gothic overtones", presaged the gothic rock genre. Joy Division_sentence_198

While the term "gothic" originally described a "doomy atmosphere" in music of the late 1970s, the term was soon applied to specific bands like Bauhaus that followed in the wake of Joy Division and Siouxsie and the Banshees. Joy Division_sentence_199

Standard musical fixtures of early gothic rock bands included "high-pitched post-Joy Division basslines usurp[ing] the melodic role" and "vocals that were either near operatic and Teutonic or deep, droning alloys of Jim Morrison and Ian Curtis." Joy Division_sentence_200

Joy Division have been dramatised in two biopics. Joy Division_sentence_201

24 Hour Party People (2002) is a fictionalised account of Factory Records in which members of the band appear as supporting characters. Joy Division_sentence_202

Tony Wilson said of the film, "It's all true, it's all not true. Joy Division_sentence_203

It's not a fucking documentary," and that he favoured the "myth" over the truth. Joy Division_sentence_204

The 2007 film Control, directed by Anton Corbijn, is a biography of Ian Curtis (portrayed by Sam Riley) that uses Deborah Curtis's biography of her late husband, Touching from a Distance (1995), as its basis. Joy Division_sentence_205

Control had its international premiere on the opening night of Director's Fortnight at the 2007 Cannes Film Festival, where it was critically well received. Joy Division_sentence_206

That year Grant Gee directed the band documentary Joy Division. Joy Division_sentence_207

Band members Joy Division_section_12

Joy Division_unordered_list_0

  • Ian Curtis – lead vocals, guitar, melodica (1976–1980)Joy Division_item_0_0
  • Bernard Sumner – lead guitar, keyboards, backing vocals, bass (1976–1980)Joy Division_item_0_1
  • Peter Hook – bass, backing vocals, guitar (1976–1980)Joy Division_item_0_2
  • Terry Mason – drums (1976–1977)Joy Division_item_0_3
  • Tony Tabac – drums (1977)Joy Division_item_0_4
  • Steve Brotherdale – drums (1977)Joy Division_item_0_5
  • Stephen Morris – drums, percussion (1977–1980)Joy Division_item_0_6

Timeline Joy Division_section_13

Discography Joy Division_section_14

Main article: Joy Division discography Joy Division_sentence_208

Joy Division_unordered_list_1

Credits to the contents of this page go to the authors of the corresponding Wikipedia page: Division.