13 Sep 2007
Joy Division's weird magnetism 
Salon.com reviews 'Joy Division' (and 'Control') at the Toronto International Film Festival and highlights director Grant Gee's technical and creative abilities, saying: "He has a knack for nonfiction storytelling: He never resorts to frenetic editing to capture our attention, nor does he bore us to death with expository voice-overs. The performance footage captures perfectly the weird magnetism of the band's live performances. The year 1980 may seem like a long time ago, but Grant's picture is so immediate, and so alive, that it may as well have been yesterday."

Meanwhile, cinematical.com has a downloadable Grant Gee audio interview.

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Peter Saville colour wheel
A Certain Ratio

"Manchester, 1978. In the beginning there were four: Jez Kerr (bass), Martin Moscrop (guitar/trumpet), Peter Terrel (guitar/effects) and Simon Topping (vocals/trumpet). Four thin boys with a name borrowed from a Brian Eno record, the intense, drummerless quartet initially drew influence from Wire, Eno, the Velvets and Kraftwerk, and gained a manager in Anthony Wilson of Factory Records.

"May 1979 saw the release of their first ACR single, the dark All Night Party, although the sound and musicianship of the band would be transformed by the arrival of funky drummer Donald Johnson (DoJo) in August. Over the next few months the band gigged widely, often with Joy Division as part of Factory packages, and recorded demos with producer Martin Hannett as well as a Peel session. Their support slot with Talking Heads on their UK tour in December 1979 set David Byrne on a new course, and provided the compelling live half of their chic cassette package The Graveyard and the Ballroom. Post-punk, ACR now reflected the influence of Funkadelic, George Clinton, Bootsy Collins, The Bar Kays and James Brown."

- intro to ACR Biography by James Nice (LTM)

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