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Joy Division - Substance, 1988 (Factory Communications Ltd. Cd 1990)

Posted By : bule | Date : 09 Jan 2010 10:46:21 | Comments : 7

Joy Division - Substance, 1988 (Factory Communications Ltd. Cd 1990)
EAC rip (secure mode) | FLAC+CUE+LOG -> 385 Mb
Full Artwork @ 400 dpi (png) -> 28 Mb


“After New Order released their own Substance compilation in 1987, it was perhaps inevitable that a similar and long-overdue collection would apply to Joy Division, especially given the out-of-print status of many of the band's singles. The end result turned up in 1988, and as a listen easily demonstrated that the same sheer sweep and energy that applied to the band over a full-length album similarly worked, even more so, with the focus of a 7" or 12" release. Though the earliest tracks like "Warsaw" and "Leaders of Men" were a strange sort of art punk, there was already something distinct about the group, and by the time of "Digital" and "Autosuggestion," it was perfectly apparent.”
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Posted by :: Alex | Date :: Aug 20, 2008 19:05:00 | [ 34 comments ]


Joy Division - Still, 1981 (Factory Records, Cd 1990)

Posted By : bule | Date : 08 Jan 2010 22:46:35 | Comments : 3

Joy Division - Still, 1981 (Factory Records, Cd 1990)
EAC rip (secure mode) | FLAC+CUE+LOG -> 483 Mb
Full Artwork @ 400 dpi (png) -> 15 Mb


“Ian Curtis' death prompted a flood of bootlegs and similar "tributes," likely motivated more by profit than anything else. Seeking to trump this problem -- though arguably coming from much the same standpoint -- Factory issued Still in 1981, a haphazard if still useful collection of odds, ends, and more. Considering that the band's many singles weren't properly compiled until much later on Substance, Still makes only partial sense -- the studio cuts were mostly outtakes, while the live songs had their own problems. Of the studio takes, only two tracks had seen formal release beforehand -- the mesmerizing post-punk meets R&B groove of "Glass" and the searing "Dead Souls," certainly both worthy of even more listens. Beyond that, things were more hit and miss, with strong instrumental performances given to slightly indifferent songs and vice versa.”
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Joy Division - Closer, 1980 (Factory Communications limited) - RE-UPLOAD

Posted By : bule | Date : 05 Jan 2010 17:39:00 | Comments : 9

Joy Division - Closer, 1980 (Factory Communications limited)
EAC rip | FLAC, NO CUE -> 272 Mb
Full Artwork @ 400 dpi (png) -> 31 Mb
AND
EAC rip | FLAC+CUE+LOG -> 270 Mb
Full Artwork @ 400 dpi (png) -> 31 Mb

“If Unknown Pleasures was Joy Division at their most obsessively, carefully focused, ten songs yet of a piece, Closer was the sprawl, the chaotic explosion that went every direction at once. Who knows what the next path would have been had Ian Curtis not chosen his end? But steer away from the rereading of his every lyric after that date; treat Closer as what everyone else thought it was at first -- simply the next album -- and Joy Division's power just seems to have grown. Martin Hannett was still producing, but seems to have taken as many chances as the band itself throughout -- differing mixes, differing atmospheres, new twists and turns define the entirety of Closer, songs suddenly returned in chopped-up, crumpled form, ending on hiss and random notes.”
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Joy Division - Unknown Pleasures, 1979 (Factory Communications limited) RE-UPLOAD

Posted By : bule | Date : 05 Jan 2010 16:35:00 | Comments : 9

Joy Division - Unknown Pleasures, 1979 (Factory Communications limited)
EAC rip | FLAC, NO CUE -> 228 Mb
Full Artwork @ 400 dpi (png) -> 14 Mb
AND
EAC rip | FLAC+CUE+LOG -> 225 Mb
Full Artwork @ 400 dpi (png) -> 14 Mb

“It even looks like something classic, beyond its time or place of origin even as it was a clear product of both -- one of Peter Saville's earliest and best designs, a transcription of a signal showing a star going nova, on a black embossed sleeve. If that were all Unknown Pleasures was, it wouldn't be discussed so much, but the ten songs inside, quite simply, are stone-cold landmarks, the whole album a monument to passion, energy, and cathartic despair. The quantum leap from the earliest thrashy singles to Unknown Pleasures can be heard through every note, with Martin Hannett's deservedly famous production -- emphasizing space in the most revelatory way since the dawn of dub -- as much a hallmark as the music itself. Songs fade in behind furtive noises of motion and activity, glass breaks with the force and clarity of doom, minimal keyboard lines add to an air of looming disaster -- something, somehow, seems to wait or lurk beyond the edge of hearing.”
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