Martin Hannett

Na coletânea “The Best Of Joy Division” (2008), um certo Paul Morley lista 126 ‘porquês’ a banda foi o q foi.

Ñ tem como eu copiá-los todos, cravados em 13 páginas no encarte; pincei apenas 25, q seguem abaixo:

 

“Answers

Some answers to some questions

because of Hooky’s bass lines, the journeys they embark on

because Hooky played a bass guitar solo that would last a thousand years and which was cut up into sections and used thoughout the songs of Joy Division

because Bernard played his guitar round and round in brilliant fraught circles from inside, and outside, another hundred years

because Stephen could race though his own hundred years in four minutes flat

because Martin Hannett had enough patience to wait out yet another hundred years and then work out how to make it all sound acceptable to those who didn’t have a hundred years to hang around (…)

because of ‘She’s Lost Control’, the bass beginning, the shock, the grace, the deformity, the background clatter, the fretful riff, the aerosol spray, the personal crisis, the strewn and skewed pitches of percussion, the body in flight, the mind in turmoil, a true story, for a time (…)

because Manchester is in Europe

because cultural undergrounds develop in the void left by the abdication of an official culture

because eventually what with one thing and etc it, the it of the group, the forward looking it of the sound and the sense, the meaning and the melancholy, the drum and the drama, the bass and contemplation, the guitar and half lit faces, the size and scale, the voice and sensitivity, the drastic openness and miscellaneous sensitivity, the hyped up enthusiasm and caustic disaffection, would all lead and trend and voyage across the decades around The Cure, Depeche, Echo and U2 for better or worse to Low, Coldplay, Interpol, Franz Ferdinand, The Editors, Arcade Fire etc etc

because of rock music’s sheer ubiquity (…)

because Joy Division never made it to New York until they were something else altogether, in fact a sort of New York group, and perhaps they took the ‘new’ in the name of their new group from New York (…)

because Curtis knew as well as Saville and Hannett how and why shadows decompose (…)

because memory is an internal rumour (…)

because music isn’t just what you hear or what you listen to but everything that happens (…)

because the final five songs they played at their last ever show at High Hall, Birmingham University on May 2nd 1980, were ‘Transmission’, ‘Disorder’, ‘Isolation’, ‘Decades’ and ‘Digital’, as always performing as if it was going to be the last show they ever did, even though they didn’t really believe it would be, but it was (…)

because, thanks to David Bowie, Ian never lost sight of an everyday audience (…)

because they never used the word ‘baby’ on a song (…)

because time damages the memory and memory burns into time (…)

because their music was indebted to the avant garde of northern Europe whilst stealing openly from infernal American rock

because someone on the bus whispered in Ian’s ear that the world does not exist and he couldn’t help but agree (…)

because the two incompatible realms of Ian’s universe collided

because this imagination was out of place

because he borrowed courage from Iggy, and suave delirium from Morrisson, and towards the end the caged rage of Sinatra (…)

because frozen memories gleam amid the blackness of loss

because of the music“