Skip to main content

Live_Transmission – Joy Division Reworked

Usher Hall, Edinburgh
Four stars
For those who actually saw Joy Division, the Mancunian post-punk quartet who were still on the margins at the time of lead singer Ian Curtis' suicide in 1980, which put an abrupt end to the band's brief four year existence, the industry that has grown up around them and their record label Factory has been bewildering to watch. Books, films, cover versions and increasingly ludicrous merchandise abound, while Joy Division bassist Peter Hook and his band The Light have performed both the band's albums in full. This epic electro-orchestral deconstruction of Joy Division's austere and urgent canon, however, might well have been something the band's late producer Martin Hannett dreamt up.

Electronic auteur Scanner, the thirty-strong Heritage Orchestra plus drummer Adam Betts and guitarist Matt Calvert from post-rock instrumentalists Three Trapped Tigers and Ghostpoet bassist John Calvert perform an eighty-minute suite that takes Joy Division songs as their starting point before stripping them down, bending them out of shape and rebuilding them so they're barely recognisable. What's left of Transmission sounds like Ennio Morricone gone Techno, Digital is woozy and funereal, while Isolation becomes cosmic prog as Matt Watkins' video cut-ups capture the music's full Ballardian psycho-geographic sweep.

On one level, technology has made this an easy trick. There are tons of ripped-up, slowed-down versions of classic songs floating around the internet. On another, this is both a magnificent homage to one of one of the most important bands ever and a wonderful sleight of hand that can get a couple of thousand ageing ex-punks into a sit-down contemporary classical concert to witness industrial abstractions of northern England that sound as vital as they ever did.

The Herald, October 3rd 2013


ends  

Comments

Popular posts from this blog

Myra Mcfadyen - An Obituary

Myra McFadyen – Actress   Born January 12th 1956; died October 18th 2024   Myra McFadyen, who has died aged 68, was an actress who brought a mercurial mix of lightness and depth to her work on stage and screen. Playwright and artistic director of the Royal Lyceum Theatre, Edinburgh, David Greig, called McFadyen “an utterly transformative, shamanic actor who could change a room and command an audience with a blink”. Citizens’ Theatre artistic director Dominic Hill described McFadyen’s portrayal of Puck in his 2019 production of A Midsummer Night’s Dream at the Regent’s Park Open Air Theatre in London as “funny, mischievous and ultimately heartbreaking.”   For many, McFadyen will be most recognisable from Mamma Mia!, the smash hit musical based around ABBA songs. McFadyen spent two years on the West End in Phyllida Lloyd’s original 1999 stage production, and was in both film offshoots. Other big screen turns included Rob Roy (1995) and Our Ladies (2019), both directed by Mi...

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) ...

Billy Elliot The Musical

Edinburgh Playhouse Five stars A big National Coal Board sign looms large at the opening of Lee Hall and Elton John's decade-old musical stage version of Hall and director Stephen Daldry's hit turn of the century film. In a tale of one little boy's liberation as a dancer against the backdrop of the 1980s miners strike, however, the Durham Miners banner and the 'Save Our Community' sash held aloft matter more. It is this call to arms that forms the heart of Daldry's production, as Billy becomes a potty-mouthed beacon of hope in a situation where picket line, thin blue line and chorus line rub uneasily up against each other. Given such a context, there is bound to be some pretty grown-up stuff going on here, be it the institutionalised homophobia in Billy's village, the class war going on within it, or Billy's grieving for his dead mother that drives his every move. And, as so magnificently choreographed by Peter Darling, what moves they are. Watch...