Today, Peter Hook (Born Peter Woodhead) of Joy Division and New Order turns 69 years of age. Celebrating his career in music is near impossible with respect to the remarkable success he achieved with the aforementioned bands, however that moment in time at the start of his career may perhaps be the place that sums up Hooky the best. Something he has taken to revisit in recent years with his band Peter Hook And The Light, again touring the individual albums this year which will see him perform the albums Technique and ‘Republic’ in their entirety. Keeping the flame burning brightly as his own unique support act at all shows where he performs a selection of Joy Division numbers in his own faithful style.

Transmission

The pulsing bass , the thunder of the drums, the synthesiser and bass working perfectly as a unit, and then Ian Curtis singing in his low-larynx-gothic projection;
"When the routine bites hard
And ambitions are low
And the resentment rides high
But emotions won't grow",

'Love will tear us apart', perhaps one of the most memorable songs by Joy Division,their calling card,released posthumously after Ian's death.The lyrics a mirror of his frame of mind and his failing marriage to Deborah(Deborah Woodruff).

To say one song was all there was to Joy Division,that they can be defined by three minutes and eighteen minutes of dark thumbing brilliance or even their two studios albums of perfect surreal-starkness-,'Unknown Pleasures' 1979 and 'Closer' 1980.
The metamorphosis that happened with New Order does not define anything that happened before either.

Joy Division were a sum of everything that was good about Punk and 70s music in general. Iggy Pop, Lou Reed and certainly David Bowie and his Berlin era, with 'Low' and 'Heroes' an inspiration, after all pre-Joy Division were called Warsaw taken from the Bowie song of the same name.
But Curtis injected his own vision and distinctive voice to it, Joy Division have influenced so much about today's modern music from The Cure to Radiohead.

Manchester

One of the biggest influences on the Manchester scene was the infamous gig by the Sex Pistols at the Lesser Free Trade Hall on the 6th-of -June 1976 as part of the Anarchy tour. In the audience that night were, apart from Curtis, future members of the Buzzcocks were present, whose founder member Pete Shelley organized the gig and even opened for the Pistols. But more importantly to the story the two founders of Factory Records Martin Hannet and Tony Wilson. On a side note however. also present and influenced was Mark E. Smith of The Fall, Mick Hucknall of Frantic Elevators and much later Simply Red and one Steven Patrick Morrissey, who would form The Smiths. The influence that one night had on the late 70's and early 80's music industry is staggering.

The goth-injected, controlled passion of Joy Divisions second and final album 'Closer',is in essence a brilliant rock album, some have gone as far to say the best rock album of the-eighties. Released posthumously on July-the-18th 1980 almost two months after the death of Ian Curtis.
Unloved by Sumner and Hook, unhappy again with Martin Hannets mix, very hard to imagine why as Hannet, both genius and madman, has managed to merge the bands sound into a more positive and melodic experience than on 'Unknown Pleasures'.

Peter Hook and New Order exist as two separate entities now, but their sound is rooted as it always will be very much in the past.

Phil Western (°12 August, 1971, † 9 February, 2019) was a producer/engineer/composer and programmer who has been active in music for close to 20 years and has close to 40 albums released to date.

He is known for his collaborative work with his close friend Cevin Key (Skinny Puppy) in the electronic music projects like Download and PlatEAU, as well as his own solo albums, many of which have been released on his own label, The Record Company. His production and engineering work includes remixes for Skinny Puppy, Nine Inch Nails, Monster Magnet and many others.

May he rest in peace.
DISCOGS

Dark electronic trio, PAWN PAWN has just unveiled their latest EP, Halloween. The EP delivers a darkly electrifying journey through a spectrum of synth-driven styles, each track a study in emotional and sonic extremes. The Halloween EP is both a love letter to synthpop’s past and a step into its future. While inspired by film director, John Carpenter, the EP is named in honor of a holiday many dark hearts celebrate every day,

Halloween 's trajectory goes through the brooding, pulsing opening track, “Trick Or Treat” to the seductive, shadowy anthem, “Tell You With My Eyes”, then closing with “Jealousy Looks Good On Me”, a high-octane fusion of '90s industrial-pop that balances chaotic aggression with razor-sharp melodic hooks.

The EP's themes, like Halloween, are about embracing darkness and emotional extremes: vengeance, obsessive attraction & jealousy. They also represent tales of liminal spaces; the spaces between thinking about revenge and actively seeking it, or the space between obsessing over someone and actually making a move.

The EP also addresses the lines between passion and destruction, the idea being that an emotion like jealousy can theoretically make us more passionate and wanting to be the very best version of ourselves. Meanwhile that eternal desire competes in a battle that can never be won and is ultimately self-destructive.

Says vocalist, Liz Owens Boltz, the music on the EP is "about exploring synthpop and industrial-pop...this is really our first official foray into these genres. So our creative journey has brought us here, trying on a darker and more aggressive sound, and having fun with it."

Halloween is available on all major digital platforms including Bandcamp and Spotify.

open.spotify.com/artist/6QOYJLtpQJwiMa61cNtW6L

This month it’s been 29 years since American industrial metal band Ministry released their cover version of Bob Dylan’s ‘Lay Lady Lay’ (February 1996).

The song was performed earlier during a charity concert in October 1994, with Eddie Vedder from Pearl Jam performing the backing vocals. Later the studio version of the song was recorded and released as a 4 track CD single from Ministry’s sixth studio album, Filth Pig. The song also appears on the 2008 Ministry cover album, Cover Up.

In the Rolling Stone magazine’s review of Filth Pig, critic Jon Wiederhorn wrote that the cover "amalgamates a deep distorted bass line, clicking electronic percussion, jangling acoustic guitars, ominous curls of feedback and Ministry frontman Al Jourgensen's trademark howls”.

Lay Lady Lay (CD) Tracklist

Lyrics

Lay lady lay
Lay across my big brass bed
Lay lady lay
Lay across my big brass bed
Stay lady stay
Stay while the night is still ahead
Stay lady stay
Heaven's fills our head
Whatever colors that you have in your mind
I show them on to you and you see them shine

Stay lady stay
Stay with your man a while
Till the break of day
Then you're gonna see him smile
His clothes are dirty but his hands are clean
And you're the best thing, he's ever seen
Why wait any longer for the world to begin?
You can have your cake and eat it too
Why wait any longer for the one you love
When he's standing over you?

Lay lady lay
Lay across my big brass bed
Stay lady stay
We're gonna build the whole night ahead
I long to see you in the morning light
I long to reach for you all night

Lay lady lay
Lay lady lay
Lay lady lay
Lay lady lay
Lay lady lay

Songwriter: Bob Dylan

© Sony/ATV Music Publishing LLC

DISCOGS

The Stooges classic 'Raw Power' was released on the seventh of February 1973. The game-changer. In 1997 Iggy Pop remixed the album, making it sound like a war of noise and aggression.

Some said there was no need to overhaul the original Bowie mix of this incendiary album, after all, it was that which caused such a huge influence on Punk in the 70s. Probably Pop did do a remix at the request of CBS, more than likely to stop anyone else from doing it.

'Raw Power' is a beautiful album of destruction.

Recorded in the autumn of '72 in London, with a new guitarist in James Williamson. He brought the extra cutting guitar licks into all this. When a suitable rhythm section could not be found, the Asheton brothers were brought back into the frame. Ron, being the original guitarist and core songwriter for the first two Stooges albums, this time switched to bass and the line-up was complete.

Pop produced and mixed the original sessions, but Bowie took the masters to remix them again. Several of the tracks were remixed in one day, another reason why Iggy may have felt in 1997 that he wanted to leave his stamp on it. Willamson and the late Ron Asheton had both publicly stated they preferred Bowie's mix of the album.

All this talk of remixes, does it really make a difference? In this case yes! On Iggy Pop's version, there is a lot more distortion in the mix, especially on the guitar lines, probably down to Pop keeping all the levels in the red and turning them up full for the remix. The noticeable difference is that the Asheton brothers are much more prevalent in the mix, unlike before. Ron proved he was handy enough with the bass, this seems closer to Pop's original vision for the album. Feedback and distortion over the loud mixes are the hallmark of Iggy Pop and The Stooges.

Ironically it was Bowie who pushed to get Pop back on the scene in the early 70s, due to Iggys spiralling heroin problem. What happened with the two gentlemen and their relocation to Berlin in the years that followed makes that effort by Bowie seem a slight contradiction.

Distortion and feedback and talk of remixes to one side, it is Iggy Pop at his finest. His vocal delivery is faultless, snarling, convincing and perhaps his best, from the 'Search And Destroy' opening line:

"I'm a streetwalking cheetah with a heart full of napalm

I'm a runaway son of the nuclear A-bomb"

to the closer -‘Death Trip', all is remarkably well delivered, like the collision of two nuclear warheads.

The argument will always be there surrounding this album. Which is the better version, the true version? That is whichever you personally like the most. The argument is there for both sides, but don't turn the attention away from the fine album it is and what it did for punk- rock, not only in the 70s but in general.

Raw Power (1973 LP Tracklist)

DISCOGS

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