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Guitarist Bernard Sumner and bassist Peter Hook occupy flanking positions stage front, while drummer Stephen Morris is set back. Their presentation is as spare as their austerity-era clothing. From today’s materialistic cultural perspective, this might excite derision, but like many others in that hall, I’m totally gripped. The chorus is an anguished chant: “They keep calling me”. The lyric to “Dead Souls” is an unsettling evocation of psychic possession and the presence of past lives. Then he begins to sing: “Someone take these dreams away/ That point me to another day”. Like many of the venues on this 24-date national tour, the Apollo is larger than the clubs that have been the group’s environment to date. The peculiarity of this song is that it has a long, rolling introduction that allows the group to orient themselves in their environment for the night. His primary purpose is to film his group, who are headlining tonight, but he inadvertently ends up capturing a piece of history.įramed within the cinema’s huge proscenium arch, Joy Division walk out and launch into “Dead Souls”. The Buzzcocks’ manager Richard Boon is fiddling with the tripod of a primitive Beta video camera as he attempts to get the stage area into focus. I’m up in the gods of the Ardwick Apollo, a huge 1930s cinema situated in the middle of slum clearance. Here, his former band-mates talk exclusively to Jon Savage about their troubled singer’s last days
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The life of Joy Division’s Ian Curtis is the stuff of rock mythology – and a much talked-about new film. Married at 19, the brightest star of the post-punk scene at 22, dead at 23.