Joy Division remains one of the most influential bands to emerge from the post-punk era. Formed in Salford, England, in 1976, their bleak yet powerful sound, driven by Ian Curtis’s haunting vocals and introspective lyrics, resonated deeply with a generation. This article delves into their discography, ranking their songs and exploring the evolution of their unique and enduring sound. From raw, early tracks to their more refined and emotionally charged later work, we examine the brilliance and complexities within Joy Division’s songbook.
47. Failures (1978)
“Failures,” despite its quintessential Joy Division title, presents a sound that leans towards a sub-Raw Power-era Stooges vibe. The youthful, almost adolescent voice of Ian Curtis here underscores the band’s early, somewhat amateurish stage. Listening to this track, it’s challenging to foresee the epochal impact these musicians would eventually have, requiring considerable foresight to discern their future greatness. This early recording captures a band still finding its footing, a raw energy that is a far cry from the sophisticated soundscapes they would later create.
46. Warsaw (1978)
After Ian Curtis’s tragic suicide, Joy Division’s debut EP, An Ideal for Living, became unavailable for a decade, cultivating a mythic status that arguably surpasses its actual content. “Warsaw” exemplifies the band in their nascent form – a raw, Mancunian response to the punk explosion. It showcases a primitive energy, a stark contrast to the innovative and genre-defining band they were on the cusp of becoming. This track offers a glimpse into their origins, a crucial stepping stone in their journey but not representative of their mature artistic vision.
45. At a Later Date (1978)
“At a Later Date” is perhaps more noted for Bernard Sumner’s controversial opening shout, “You all forgot Rudolph Hess,” than for the song itself. This track, Joy Division’s contribution to the Short Circuit: Live at the Electric Circus compilation, possesses a certain raw power. Recorded shortly after a physical altercation with members of The Drones, the performance is undeniably charged. However, the song itself remains somewhat underdeveloped, with Curtis’s vocals sounding raw and unrefined, indicative of their early, less polished sound.
44. No Love Lost (1978)
Also originating from An Ideal for Living, “No Love Lost” draws inspiration from a novella centered around brothels within Nazi concentration camps – the very source of the band’s controversial name. The track carries a dark, almost schlocky intensity, but lacks the distinctive spark that would characterize their later, more impactful songs. While it hints at their darker thematic interests, “No Love Lost” remains a less compelling entry in their overall discography, overshadowed by their subsequent, more nuanced explorations of similar themes.
43. Leaders Of Men (1978)
“Leaders of Men” stands out as the solitary track on An Ideal for Living that offers a glimpse into Joy Division’s future sonic direction. While not a standout song in its own right – with a subtle echo of Bowie’s “Queen Bitch” in its bridge – the track’s echoing drums and jagged guitar riffs foreshadow the distinctive sound that Joy Division would meticulously cultivate. This song is significant as a transitional piece, pointing towards the innovative soundscapes they would master on Unknown Pleasures and beyond.
42. Something Must Break (1979)
“Something Must Break,” like several outtakes that surfaced posthumously on the compilation Still, reveals why Joy Division opted to leave it unreleased. Recorded during the same sessions as “Transmission,” the song sounds off-key and strangely tinny. Featuring a reedy, garage rock organ, its primary point of interest lies in Stephen Morris’s exceptionally energetic drumming. This track provides insight into their creative process, showing that even for a band as consistently brilliant as Joy Division, not every experiment yielded gold.
41. The Drawback (1978)
In May 1978, Joy Division recorded a full album’s worth of material, intended for RCA. However, most of these recordings were later re-recorded, with “The Drawback” being a notable exception. Listening to it, the reasons become apparent: its stop-start punkiness feels lightweight and heavily indebted to bands like Buzzcocks. While it captures the energy of the era, “The Drawback” lacks the originality and depth that would soon define Joy Division, making its exclusion from their official releases understandable.
Ian Curtis performing live at the Lyceum in 1980, showcasing his intense stage presence.
40. Glass (1978)
“Glass,” the less impactful of the two songs Joy Division contributed to A Factory Sample, feels like a band in transition. The lingering influence of punk is still evident, particularly in the Rotten-esque edge to Curtis’s vocals. Martin Hannett’s production introduces a peculiar sense of spaciousness to the sound, a hallmark of his work, yet “Glass” remains one of their less memorable compositions. It’s a bridge between their raw punk beginnings and the atmospheric soundscapes they would soon master, but ultimately a less defined piece in their catalog.
39. Walked in Line (1979)
Another Unknown Pleasures outtake that resurfaced on Still, “Walked in Line” features a guitar solo reminiscent of “Transmission” and Hannett’s characteristically compressed production. Despite these elements, the track feels unfinished, with a discernible hesitancy in Curtis’s vocal delivery. The lyrics, depicting goose-stepping soldiers, are ambiguously presented and could have been a source of controversy, perhaps contributing to its abandonment. This song offers a glimpse into the creative decisions behind Unknown Pleasures, highlighting the band’s rigorous self-critique.
38. As You Said (1980)
Released on a flexidisc alongside “Komakino,” “As You Said” is heavily influenced by Kraftwerk’s Trans-Europe Express. This electronic instrumental, essentially improvised synthesizer work over a rhythm track, is more intriguing than essential. It showcases the band’s experimentation with electronic sounds, a direction that would become more prominent in New Order, but in Joy Division’s context, it remains a curio rather than a core piece of their artistic output.
37. Incubation (1980)
“Incubation” clearly functioned effectively as a powerful set-opening instrumental during Joy Division’s 1980 gigs. However, the studio version reveals it to be essentially a “Transmission” redux – sharing a similar bassline and guitar structure – albeit with heavier, glam-inspired drums. While it captures the intensity of their live performances, in a studio setting, “Incubation” lacks the distinctiveness of their more fully realized tracks. It highlights their ability to create atmosphere, but also points to a certain reliance on familiar sonic templates.
36. Ice Age (1979)
“Ice Age” serves as a reminder that Joy Division never completely severed ties with their punk roots. Recorded during the same session that yielded the sublime “Atmosphere,” “Ice Age” would sound like straightforward punky thrash if not for the bizarre drum track, which imparts an unsettling, off-kilter feel. This song demonstrates their capacity to infuse even their more conventional punk sounds with unique, unsettling elements, a testament to their evolving sonic identity.
35. The Kill (1979)
“The Kill,” a high-quality leftover from their debut album that eventually appeared on Still, hints at the version of Unknown Pleasures that Peter Hook and Bernard Sumner initially preferred. They envisioned a more visceral and punk-infused sound, contrasting with producer Martin Hannett’s futuristic and atmospheric vision. “The Kill” represents this rawer, more direct approach, offering an alternative perspective on what Unknown Pleasures could have been, and highlighting the creative tension within the band and with their producer.
34. The Sound of Music (1980)
As profoundly harrowing and oppressive as anything from Closer, “The Sound of Music” was initially debuted in a 1979 John Peel session and later re-recorded during the sessions for the “Love Will Tear Us Apart” single. It is a challenging listen – the lyrics are relentlessly bleak, and Curtis’s voice conveys authentic desperation. As a sonic portrait of a mind on the brink, it is disturbingly compelling, capturing the raw emotional intensity that defined much of their work, particularly in their final period.
33. Novelty (1979)
In one of their more unexpected creative detours, Joy Division once attempted to cover NF Porter’s northern soul classic “Keep On Keepin’ On.” While they ultimately reworked it into “Interzone,” a distinct northern backbeat still resonates in “Novelty.” Featured on the B-side of “Transmission,” it also boasts one of the band’s most accessible and sweetly melodic passages. This song reveals a surprising influence and an ability to incorporate diverse musical elements into their distinctive sound.
32. Interzone (1979)
“Interzone” showcases Joy Division’s improbable transformation of the aforementioned soul stomper “Keep On Keepin’ On” into a ragged homage to William Burroughs. Peter Hook takes lead vocals, with Curtis contributing impenetrable backing vocals. This track exemplifies their experimental approach, blending disparate genres and literary influences into a uniquely Joy Division sound. It’s a testament to their ability to surprise and innovate even within their own established style.
31. These Days (1980)
“These Days,” the B-side to “Love Will Tear Us Apart,” is its counterpart in every sense. It reflects on a disintegrating relationship not with sorrow, but with cynicism and anger (“Took threats and abuse until I learnt the part”). The song tempers its pop-infused lushness with starker, more abrasive music, though the burbling synth that permeates the track foreshadows New Order’s future musical trajectory. “These Days” offers a darker, more resentful perspective on relationship breakdown, contrasting with the melancholic resignation of its A-side.
Ian Curtis and Peter Hook performing at the Electric Ballroom in London in 1979, capturing their dynamic stage presence.
30. From Safety to Where …? (1979)
Remarkably sparse – its bass and drums intermittently punctuated by densely effected guitar – “From Safety to Where …?” features lyrics that can be interpreted as addressing small-town claustrophobia or Joy Division’s own decision to move beyond the increasingly rigid confines of punk. Lines like “Just passing through until we reach the next stage / Should we move on or stay safely away?” encapsulate this sense of transition and questioning. The song’s minimalist arrangement and introspective lyrics create a powerful atmosphere of uncertainty and anticipation.
29. Exercise One (1979)
One gets the sense that “Exercise One” may have been initially intended as an atmospheric opening track for Unknown Pleasures before being supplanted by the more direct “Disorder.” Regardless, it remains sonically stunning: a brooding storm of guitar noise and pounding drums, with Curtis’s voice distant and enveloped in cavernous echo. This track effectively establishes the album’s mood of unease and industrial decay, showcasing Hannett’s production skills in creating vast sonic spaces.
28. The Only Mistake (1979)
Arguably the finest of the previously unreleased songs on Still, it is somewhat surprising that Joy Division opted to omit “The Only Mistake” from Unknown Pleasures. It would have seamlessly fit within the album’s thematic and sonic landscape. The sound of Curtis’s vocal struggling for prominence amidst layers of guitar noise – often being overwhelmed – is potent and aligns perfectly with the lyrical portrayal of suffocating relationship distress. This song is a testament to the consistent high quality of their output during this period.
27. I Remember Nothing (1979)
The influence of Pere Ubu’s “Sentimental Journey” – with its unconventional smashed crockery sound effects – is audible in the closing track of Unknown Pleasures, “I Remember Nothing.” It is a daring choice for an album closer: devoid of melody, barely structured as a traditional song, and relying entirely on Curtis’s pained vocal delivery and oblique, unsettling imagery. This track underscores Joy Division’s willingness to push boundaries and challenge conventional song structures, ending their debut album on a note of stark, unresolved tension.
26. Komakino (1980)
Blessed with an unusually funky riff, “Komakino” feels like a close relative of Closer’s opening track, “Atrocity Exhibition,” both in its title – translating to “coma cinema” – and the intense, thunderous rhythm of Morris’s drums. The lyrics explore similar emotional terrain to Closer, questioning, “How can I find the right way to control all the conflicts inside, all the problems beside?” This song bridges the sonic and thematic concerns of both Unknown Pleasures and Closer, demonstrating a consistent thread of introspective intensity throughout their work.
25. In a Lonely Place (1980)
Finally officially released in 2011, Joy Division’s raw rehearsal version of a song later famously recorded by New Order is, as Peter Hook himself described, “too much.” The muffled sound quality intensifies the oppressive darkness to an almost unbearable degree. The final verse – explicitly depicting a hanging – suggests that any notion of a different, happier outcome for Joy Division was tragically never a realistic possibility. This raw recording offers a harrowing glimpse into the band’s internal struggles and the bleak trajectory that culminated in Curtis’s suicide.
24. Wilderness (1979)
It speaks volumes about the exceptional quality of Unknown Pleasures that even its lesser tracks, such as “Wilderness,” sound remarkable. It takes a simple garage rock riff and propels it into an entirely unexpected sonic realm – enveloped in cavernous echo – and culminates by escalating the emotional intensity, repeating the line “they had tears in their eyes” with an increasing sense of alarm. “Wilderness” exemplifies the album’s consistent ability to transform seemingly simple musical ideas into powerful and atmospheric soundscapes.
23. Colony (1980)
Inspired by Franz Kafka’s short story “In the Penal Colony” – about a machine that tortures and executes condemned men, granting them a religious epiphany in the process – “Colony’s” music takes a Stooges-esque riff and disrupts it with an unsettlingly jerky stop-start rhythm. This song effectively captures the story’s themes of punishment, revelation, and mechanical brutality through its disjointed and intense musical structure. It showcases Joy Division’s ability to draw inspiration from literature and translate complex themes into compelling sonic forms.
22. Passover (1980)
Sonically the starkest track on Closer, “Passover” unflinchingly confronts the turmoil of Curtis’s personal life – his marriage, “brutally taking its time” to completely collapse, and his relationship with Annik Honoré – and its devastating impact on his mental health: “Doubting, unsettling and turning around … disturbing and purging my mind.” This song is a raw and unflinching self-portrait of emotional disintegration, reflecting the intense personal struggles that permeated Curtis’s life and work during this period.
21. Day of the Lords (1979)
“Day of the Lords” stands as evidence that the significant artistic leap between Joy Division’s contributions to A Factory Sample and Unknown Pleasures was not solely attributable to producer Martin Hannett’s unique vision. They had simply not previously recorded material as majestic and controlled as “Day of the Lords.” This track demonstrates the band’s inherent growth in songwriting and musical sophistication, independent of Hannett’s production, marking a pivotal moment in their artistic development.
20. Atrocity Exhibition (1980)
Some albums’ opening tracks gently invite the listener in; Closer’s “Atrocity Exhibition” instead slaps the listener in the face. Six minutes of twisted guitar noise, hypnotic bass, and thunderous drums, the song’s melody, such as it is, is carried entirely by the vocals, forcing attention onto the starkly horrifying lyrics: bedlam, genocide, the violence of the Colosseum. This track serves as a brutal and uncompromising introduction to Closer, setting the tone for the album’s intense and often disturbing explorations of human suffering.
19. Autosuggestion (1979)
“Joy Division sounded like ghosts,” observed Manchester writer Bob Dickinson in Jon Savage’s oral history, This Searing Light, the Sun and Everything Else. Nowhere is this more evident than on the Unknown Pleasures outtake “Autosuggestion.” Six minutes of reversed guitar, echoing drums, and a vocal delivery relying on long, mournful notes, the track gradually builds to a frenetic climax, punctuated by Curtis’s repeated invocation: “Lose some sleep and say you tried.” “Autosuggestion” captures the band’s spectral and haunting qualities, creating an atmosphere of intense emotional and sonic tension.
18. A Means to an End (1980)
“A Means to an End” is a perfect illustration of post-punk’s subversion of disco’s relentless four-to-the-floor beat – Joy Division’s manager Rob Gretton was reportedly an avid collector of US dance singles. The lyrics seem to conflate Curtis’s personal turmoil with warfare, a recurring theme and metaphor in his work. This track merges danceable rhythms with dark, introspective lyrics, showcasing Joy Division’s innovative approach to genre blending and thematic exploration.
17. Insight (1979)
The syndrum – the perky “bing-boo” sound popular in disco records around 1979 – was an unexpected addition to Joy Division’s sonic palette, yet it works to striking effect on “Insight.” Paradoxically, it sounds as desolate during the verses as Curtis’s melancholic croon of “I remember when we were young.” Elsewhere, it was manipulated to sound, in Morris’s memorable description, “like a flock of marauding pigeons.” “Insight” demonstrates the band’s willingness to experiment with unconventional sounds and integrate them seamlessly into their signature style, creating layers of sonic and emotional complexity.
16. Digital (1978)
“Digital” represents a significant leap forward from the Ideal for Living EP, marking Joy Division’s emergence into their own unique space within the post-punk landscape. Clipped and hypnotic, driven by Hook’s bassline – with guitar providing texture rather than lead – it steadily builds to a series of stark, intense climaxes, during which the emotional tone shifts from claustrophobic to distressed. This track showcases the band’s evolving sound, characterized by rhythmic intensity and dynamic shifts in mood.
15. Twenty Four Hours (1980)
“Twenty Four Hours” provides a final burst of nervous energy before the enveloping darkness and calm of Closer’s final two tracks. Curtis’s voice floats over a ferocious double-time rhythm that repeatedly falters, as if unable to bear the weight of the emotional desolation in the lyrics: “Look beyond the day in hand, there’s nothing there at all.” This song captures a sense of frantic desperation and impending collapse, mirroring the lyrical themes of hopelessness and despair.
14. Heart and Soul (1980)
A bold masterpiece of understatement, “Heart and Soul’s” cloudy sonic landscape – mists of electronics, a vocal shrouded in echo, a listlessly strummed guitar – deliberately avoids building to any conventional climax. It simply drifts along, atmospheric and ghostly. For those seeking to pinpoint Joy Division’s influence on goth music, “Heart and Soul” is an essential starting point, embodying the genre’s melancholic atmosphere and understated intensity.
13. Candidate (1979)
Joy Division famously endured intense scrutiny from producer Hannett during the creation of Unknown Pleasures, but the resulting album is testament to the effectiveness of this rigorous process. “Candidate” exemplifies this, showcasing a becalmed yet unsettling atmosphere – the guitar chaotic and feedback-laden, but deliberately low in the mix – which only amplifies the lyrical anxiety. This song highlights the productive tension between band and producer, resulting in a uniquely unsettling and emotionally resonant track.
12. Ceremony (1980)
While slower and darker in tone than New Order’s subsequent re-recording, Joy Division’s original version of “Ceremony” is still comparatively lighter and more pop-oriented than much of Closer, although such distinctions are relative. Nevertheless, one can discern the makings of an epic single that could have followed “Love Will Tear Us Apart” in propelling the band to broader mainstream recognition. “Ceremony” represents a potential bridge between their darker album tracks and more accessible single material, hinting at a possible future direction cut short by tragedy.
11. Disorder (1979)
It is often said that Joy Division’s music sounded like the decaying urban environment of late 1970s Manchester. This is palpable in “Disorder,” the superb opening track of Unknown Pleasures. Its taut rhythm and streaks of electronic noise evoke, as writer Jon Savage described, “endless sodium lights and hidden semis seen from a speeding car, vacant industrial sites.” “Disorder” effectively sets the stage for Unknown Pleasures, capturing the bleak urban landscape and sense of alienation that permeated their music and the era.
10. Isolation (1980)
On Unknown Pleasures, synthesizers served to ornament Joy Division’s sound; on Closer, they began to become their sound. The chaotic live versions of “Isolation” and “Decades” included on Still revealed the potential drawbacks of this approach. However, the studio version of “Isolation” is nothing short of fantastic: a brutal, machine-like beat, an icy hook, Curtis’s voice drenched in unsettling effects. This track marks a significant shift towards electronic instrumentation, becoming integral to their sound and enhancing the themes of alienation and emotional detachment.
9. New Dawn Fades (1979)
“New Dawn Fades” is among the most powerful songs on Unknown Pleasures. Its thrilling surges of energy – slashing guitar chords, Curtis’s vocals becoming increasingly intense and impassioned – carry disturbing lyrics: “A loaded gun won’t set you free,” he sings. “So you say.” Covered by Moby, it unexpectedly appeared on the soundtrack to the 1995 Robert De Niro film Heat. “New Dawn Fades” exemplifies the album’s dynamic range, moving between moments of quiet introspection and explosive intensity, underpinned by Curtis’s increasingly poignant lyrics.
8. Decades (1980)
“Decades” seems to conclude Closer on a note of quiet resolution. It glides along, richly melodic and densely layered with synthesizers. However, the lyrics offer a distressing portrayal of soldiers suffering from what would now be diagnosed as PTSD: “We knocked on the doors of hell’s darker chamber / Pushed to the limit we dragged ourselves in.” “Decades” juxtaposes its serene musical surface with deeply unsettling lyrical content, providing a haunting and poignant conclusion to Closer.
7. Shadowplay (1979)
“Shadowplay” was the song Joy Division chose to perform for their debut television appearance in 1978. The choice is understandable. Its murky atmosphere and portrayal of a car journey not as liberation, but as an alienating experience, perfectly underscored presenter Tony Wilson’s assessment: “Joy Division is the most interesting new sound we’ve come across.” “Shadowplay” effectively encapsulates the band’s early signature sound and thematic concerns, making it an ideal introduction to their music for a wider audience.
6. The Eternal (1980)
Robert Smith of The Cure cites “The Eternal” as his favorite Joy Division song. Its cloudy, synth and piano-driven sound clearly influenced The Cure’s album Faith. Inspired by a child with Down’s syndrome who lived near Curtis in Macclesfield, “The Eternal” is both beautiful and deeply moving. It depicts the child’s struggle to communicate with remarkable empathy. This song showcases a softer, more compassionate side of Joy Division, demonstrating their ability to explore themes of vulnerability and human connection with sensitivity.
5. She’s Lost Control (1979)
Opinions diverge on whether the definitive version of “She’s Lost Control” resides on Unknown Pleasures or the subsequent 12-inch single. Regardless, its shattering lyrical depiction of a woman experiencing an epileptic seizure, its electronic rhythm, and its relentless bassline constitute a spectacular achievement. It is the work of a rock band that sounded utterly unlike any other, forging a unique sonic and thematic territory. “She’s Lost Control” is a landmark track, exemplifying Joy Division’s innovative approach to music and their willingness to tackle challenging and often taboo subject matter.
4. Dead Souls (1979)
“A duel of personalities that stretch all true realities, it seemed like he was two people,” Bono insightfully noted after meeting Curtis, capturing the fractured nature of his persona. “Dead Souls” is almost unbearably intense, its Stooges-esque riff churning beneath an increasingly desperate-sounding vocal performance. This song is essential yet demanding listening, reflecting the internal conflicts and intense emotions that defined Curtis and Joy Division’s music.
3. Transmission (1979)
“Transmission” is deceptively simple in its construction – just two chords, a three-note bassline, and an icy synth drone. Yet, the sheer power it accumulates over its four minutes is extraordinary. It’s a rising tide of tension that finally breaks with Curtis’s anguished cry of “and we can dance!” “Transmission” is a masterclass in minimalist intensity, demonstrating how Joy Division could create immense emotional impact with seemingly simple musical elements.
2. Love Will Tear Us Apart (1980)
Writer Paul Morley recounted his shock upon first hearing “Love Will Tear Us Apart” live: “Oh my God, this is a fucking great pop song.” However, its singular power stems from the fact that it is pop music warped to Joy Division’s specifications, rather than the other way around. Its undeniable catchiness masked a strikingly blunt, agonizing, and inconsolable portrayal of a marriage in complete collapse. “Love Will Tear Us Apart” is a tragic masterpiece, blending pop accessibility with profound emotional depth, becoming their most commercially successful yet deeply poignant song.
1. Atmosphere (1980)
It seems almost unbelievable that Joy Division initially gave away their greatest song to what Curtis dismissed as “a French limited-edition magazine-cum-record thing”: Sordide Sentimental, which released a mere 1,578 copies. But then, Joy Division was experiencing an unprecedented surge of creativity at the time. “Atmosphere” marked the beginning of this remarkable burst of inspiration, which tragically, no one – except perhaps their lead singer – realized would be their last. It is stately, emotive, and epic. Moreover, there is a lightness to its beauty and a faint glimmer of optimism in its lyrics, both conspicuously absent from their other later songs: a final, breathtaking flicker of light before the darkness irrevocably descended. “Atmosphere” stands as Joy Division’s crowning achievement, a testament to their enduring artistry and profound emotional resonance.
