Abstract
In popular music, listeners identify with musicians according to mutually understood patterns of interpretation and behaviour. Values of ‘spectacle and emotion, presence and absence, belonging and difference’ are articulated within the framework of genre (Frith 1996, 276). For example, punk music promotes live performance as indicative of authenticity. The early work of the band Warsaw and their initial self-released recordings as Joy Division were largely conventional, based on punk’s confrontational approach with its ‘proud parade of energy over technique’ (Griffiths 2004, 559). This changed upon signing to Factory Records. A mature presentationwas then created, in collaboration with producer Martin Hannett and designer Peter Saville. This chapter will focus on the first year of this partnership. Three recording sessions and their corresponding record releases will be considered: Cargo Studios (11 October 1978) for the compilation A Factory Sample, Strawberry Studios (April 1979) for the album Unknown Pleasures and Strawberry Studios (July–August 1979) for the single ‘Transmission’.Released by Factory in rapid succession (January, June and October 1979, respectively), these records formed a significant aesthetic statement....
| Original language | English |
|---|---|
| Title of host publication | Heart and Soul |
| Subtitle of host publication | Critical Essays on Joy Division |
| Editors | Martin J. Power, Eoin Devereaux, Aileen Dillane |
| Publisher | Rowman and Littlefield Publishers |
| Pages | 133-154 |
| Number of pages | 22 |
| ISBN (Electronic) | 9798881872632 |
| ISBN (Print) | 978-1-78660-334-0 |
| Publication status | Published - 1 Jan 2018 |