1 Oct 2013
Moby shows love for Movement 
Over at acclaimed online musical and literary hub The Quietus, ambient-dance wizard Moby has been talking about his favourite formative albums.

In one case, his choice of artist shouldn't be a huge surprise but perhaps his choice of album is - New Order's often-forgotten Movement (FACT 50). One of his all-time Top 10, Moby says in the article compiled by Luke Turner, "When I was 14 or 15-years-old I was fully ensconced on the cult of Ian Curtis, so when I got Movement I listened to it and tried to decode it... how many songs were influenced by Ian Curtis, how many songs were written by Ian Curtis, were they trying to communicate with Ian from beyond the grave." You can read the whole article here, in which he chooses other albums by D.A.F., B.E.F., O.M.D. and others of a less-abbreviated persuasion.

Moby's love of Joy Division has been previously highlighted after the electronic pioneer had a crack at New Dawn Fades for a single b-side some twenty years ago, a game effort we recall (you'll find it on the standard CD-single version of Feeling So Real or the easier-to-find I Like To Score album).

Given his choice of favourite New Order recording, it should come as no surprise that Moby appeared on stage in Seattle with Peter Hook and the Light on their current rapturously-received North American tour. Hooky will be returning to the UK in the autumn for a tour with both Movement and Power Corruption and Lies in tow. Read about the tour here.

Talking of Hook, it appears he has recently incurred minor wrath from some frustrated fans in the States. Several punters opted to decline from arriving early to see the support band, Slaves Of Venus, on the US tour, without first realizing that it was Peter Hook and the Light under an assumed name performing a raft of Joy Division songs as a bonus! All of which only serves as an important lesson - sometimes it's worth turning up that bit earlier to catch what could be a truly surprising and decent support act.

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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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