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17 July 2025

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Joy Division’s Unknown Pleasures: The album that sparked Manchester’s indie spirit

But the album was not an instant classic when it first came out...

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This weekend, on the 15th of June, marks 46 years since the release of Joy Division’s album Unknown Pleasures. Although celebrated today as a milestone in British music, the album was not immediately embraced as a classic when it first came out.

At the time of its release in 1979, the Manchester band Joy Division were regarded as interesting but not as popular as groups like the Buzzcocks or Magazine. Their Martin Hannett-produced album, recorded at Strawberry Studios in Stockport, was overshadowed in its own recording space by the success of Sad Cafe. Sad Cafe, another Manchester band managed by Harvey Lisberg, worked with 10cc’s Eric Stewart on their third album Facades, which reached number 8 in the UK charts.

While the Buzzcocks and Joy Division only managed to fill the Manchester Apollo for a single night, Sad Cafe sold out three consecutive shows there in the same year. This highlighted the popularity gap between these local acts.

Reflecting on the album’s production, bassist Peter Hook recalled the band’s initial expectations: “We wanted Unknown Pleasures to sound like the Sex Pistols’ Never Mind the Bollocks: big guitar, rip your head off. Total punk. We wanted a punk LP.” However, Hannett’s distinctive production approach introduced a more atmospheric and experimental sound, which initially disappointed the band. Hook admitted, “It definitely didn’t turn out sounding the way I wanted it… But now I can see that Martin did a good job on it… There’s no two ways about it, Martin Hannett created the Joy Division sound.”

Despite the critical praise Unknown Pleasures received, it took some time for the album to gain wider recognition. In the crowded musical landscape of 1979, it had to compete with major hits including Anita Ward’s Ring My Bell, Earth Wind & Fire’s Boogie Wonderland, and Sister Sledge’s We Are Family. The summer charts that year were also filled with singles by artists such as David Bowie, The Clash, Squeeze, and Blondie, as well as songs by The Ruts, Janet Kay, Roxy Music and The Skids.

Apart from novelty records like footballer Kevin Keegan’s single and a few pop releases from The Dooleys and Dollar, the charts were of a surprisingly high standard.

For many young Mancunians at the time, the music of Joy Division did not initially resonate. Working summer jobs and spending time in local venues, they might have heard Joy Division live but still found their sound challenging. At Butlin’s in Bognor Regis, for example, young workers from across the country were more focused on avoiding trouble and making ends meet than on the latest post-punk sounds.

It was only later, in universities and polytechnics across the UK, that the band’s reputation grew. Students from outside Manchester began to see the band as representing a cool, independent scene that was distinct from the London-dominated music industry. This shift was reinforced by John Peel’s radio support and the growing interest from the music press.

Joy Division’s intense, post-punk style set them apart from both the melodic punk of the Buzzcocks and the progressive rock that many young people were trying to leave behind. Their live performances were powerful and raw, with a sound that felt almost like prog rock to some, but which also captured something new and urgent in the music scene.

46 years on, Unknown Pleasures has become a landmark album, widely acknowledged for its impact on music and culture. Its release marked the beginning of an independent, confident scene in Manchester and a moment of pride for those who supported it from the start. Despite its modest sales in 1979, the album’s influence endures, continuing to shape how people see Manchester’s music heritage.

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