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Peter Hook

Peter Hook (born Peter Woodhead; 13 February 1956) is an English musician, author, and former nightclub owner, best known as the bassist and co-founder of the influential band (1976–1980) and its successor, the group (1980–2007). Renowned for his distinctive style—characterized by high-pitched, melodic lines that often functioned as lead instruments—Hook played a pivotal role in shaping the sound of late-1970s and 1980s music. His contributions helped define Manchester's music scene, including co-owning the iconic nightclub, which became a cultural hub in the 1980s and 1990s. Born in , , Hook grew up in the nearby area of Broughton and adopted his stepfather's surname after his mother's remarriage. His early interest in music was sparked in his teenage years; he has recounted stealing his first single, & The First Edition's "Ruby, Don't Take Your Love to Town," as a youth in Salford. The pivotal moment in his career came in June 1976, when he attended a concert at Manchester's alongside future bandmates and , inspiring him to pursue music seriously. Hook, Sumner, Curtis, and drummer Stephen Morris initially formed the band before renaming it in 1978, drawing from the dystopian themes of post-war literature and . With , Hook's innovative bass work featured prominently on the band's debut album, (1979), produced by , which captured the raw intensity of with tracks like "Disorder" and "She's Lost Control." The group released a second album, Closer (1980), shortly after Curtis's in May 1980, which tragically ended the band's run but cemented its legendary status. Following Curtis's death, the remaining members—Hook, Sumner, Morris, and later on keyboards—reformed as , blending with electronic and dance elements. achieved global success with singles such as "" (1983), the best-selling 12-inch single in history, and albums like (1983) and (1989), while Hook's bass lines remained a signature amid the band's evolving synth-driven sound. Hook departed in 2007 amid reported creative and personal tensions with Sumner, after which he formed in 2010 to perform and material live. The band has toured extensively, including a 2025 North American run focusing on 's Get Ready (2001) album. Beyond music, Hook has authored memoirs detailing his experiences, including : Inside (2012) and Substance: Inside (2016), offering candid insights into the bands' histories and internal dynamics. In 2017, he reached a "full and final" settlement with over royalty disputes, allowing him to continue his independent projects. Hook's influence endures in , with his bass technique cited by generations of musicians, and he remains active in performing and writing as of 2025.

Biography

Early life

Peter Hook was born Peter Woodhead on 13 February 1956 in , . He later adopted his stepfather's surname following his mother's remarriage. Due to his stepfather's job, Hook's family relocated to when he was very young in the early 1960s, where they lived for a few years in a large house with servants before returning to in the mid-1960s. The contrast between the vibrant Jamaican environment and the modest working-class life in profoundly shaped his early experiences. Upon returning to , Hook attended , where he met his future longtime collaborator . After leaving school, he took an early job as a clerk at the Company on Chester Road. Hook's initial musical exposure came through childhood affinity for ; at age 13, he stole his first single, ' "Ruby, Don't Take Your Love to Town" (1969), after saving £11 for a record player. By his mid-teens, he discovered via broadcasts, including Cockney Rebel's "" (1973), which led to interests in and . He also drew bass influences from records, particularly admiring the work of session musician on ' "Just My Imagination" (1971). In 1976, inspired by seeing the perform, Hook purchased his first instrument—a copy for £35—and taught himself to play. This marked the start of his musical pursuits, including a brief early band with Sumner called Stiff Kittens.

Joy Division (1976–1980)

Peter Hook and Bernard Sumner, along with friend Terry Mason, attended the ' concert at Manchester's Lesser on July 20, 1976, an event that profoundly inspired them to form a band. The following day, Hook purchased his first , and the pair soon placed a newspaper advertisement seeking a vocalist and , leading them to and, through Curtis's recommendation, Stephen Morris. Initially named after a song, the group debuted in May 1977 and renamed themselves in early 1978, drawing the name from the term for the wing in as described in a . In , Hook pioneered a distinctive playing style characterized by high-register lines that functioned as lead melodies, often emulating the role of a to cut through the mix and drive the band's sound. This approach was influenced by the raw energy of , where he drew from guitarists' techniques for simplicity and aggression, as well as reggae's rhythmic emphasis on off-beats and space, which added a hypnotic, propulsive quality to tracks like "Disorder" and "She's Lost Control." Hook's contributions extended to songwriting, where he co-authored melodies and structures for many , collaborating closely with Sumner on riffs and arrangements that defined the band's brooding intensity. The band's debut album, , was recorded in April 1979 at in with producer , who emphasized atmospheric space and Hook's prominent bass tones using echo chambers and reverb to create their signature echoey soundscape. Released on June 15, 1979, by , it featured Hook's innovative lines on tracks like "" and "," establishing as pioneers of . Their follow-up, Closer, recorded in March 1980 at Pink Floyd's in under Hannett's production, included equally stark contributions from Hook, such as the driving bass on "" and "Heart and Soul." Released posthumously on July 18, 1980, the album solidified their legacy. Key singles included "" (1978) and the iconic "" (May 27, 1980), the latter showcasing Hook's melodic bass hook that became a cornerstone of their oeuvre. Tragedy struck on May 18, 1980, when vocalist died by suicide at his home in , just weeks after "" was released and days before a planned U.S. tour. Devastated, Hook, Sumner, and Morris decided to disband , honoring Curtis's memory by not continuing under the same name, though they would later evolve into a new project.

New Order (1980–2007)

Following the death of 's lead singer in May 1980, surviving members , Peter Hook, and Stephen Morris formed later that year to continue making music. Keyboardist and guitarist , who was Morris's partner, joined the band in October 1980 to complete the lineup. The group's debut single, ""—a track originally written during 's final sessions—was released in March 1981 and marked their transition from roots, peaking at number 34 on the . New Order's sound evolved rapidly from the brooding intensity of their early work on the 1981 debut album toward and dance influences, driven by Sumner's increasing focus on guitar and electronics alongside Hook's melodic bass lines. Their 1983 single "" became a landmark in electronic music, selling over 3 million copies worldwide and incorporating sequencer-driven rhythms that blended club energy with rock structures. The follow-up album (1983) solidified this shift, featuring bright synth textures and tracks like "," which highlighted Hook's prominent, high-register bass playing as a core element of the band's identity. By the late , immersion in the acid house scene inspired (1989), recorded partly in , where the band embraced Balearic beats and pulsating rhythms on songs such as "" and "," reflecting Hook's enthusiasm for the island's party culture. In 1982, co-owned and helped manage nightclub in alongside , envisioning it as a cultural hub for the city's music scene; the venue quickly became iconic for hosting rave culture and DJ sets but incurred massive financial losses estimated at up to £18 million over its run, sustained primarily by the band's royalties until its closure in 1997. After releasing in 1993, the band entered a hiatus around 1994 as members pursued solo endeavors, reforming in 1998 to resume touring and recording. The comeback album Get Ready (2001) returned to guitar-driven rock sounds with guest vocalists, followed by (2005), which mixed electronic elements and featured Hook on bass for what would be his final full contributions to the group. Hook's involvement diminished amid growing tensions, leading to his departure from in 2007 over creative differences, particularly regarding the band's direction and his role in songwriting and arrangements. In 2023, Hook reached a "full and final" settlement with over royalty disputes stemming from his departure.

Side projects (1990s–2000s)

In the early 1990s, during a hiatus period for following the release of their Technique, Peter Hook formed the band as a . The group, which featured Hook on bass and vocals alongside collaborators including Dave Hicks on guitar, adopted an electronic and rock-infused sound that diverged from New Order's established style while retaining elements of Manchester's heritage. Revenge released their debut and only studio , One True Passion, in 1990 on , which included tracks like "Pineapple Face" and explored themes of desire and urban nightlife through a sleazy, synth-driven aesthetic. Despite critical mixed reception for its bold image and production, the album marked Hook's initial foray into more experimental, club-oriented outside his primary band. Building on the creative momentum from Revenge, Hook launched another collaborative venture, Monaco, in 1995 with David Potts, the former bassist from Revenge. This duo project blended rock with electronic and dance influences, echoing New Order's evolution but with a more introspective, melodic focus. Monaco's debut album, Music for Pleasure, arrived in 1997 via Polydor Records and achieved moderate success, peaking at No. 26 on the UK Albums Chart, driven by singles such as "What Do You Want from Me?" that showcased Hook's prominent bass lines and Potts' guitar work. The band followed with a self-titled second album, Monaco, in 2000, which reached No. 84 on the UK charts and featured tracks like "I've Got a Feeling," further emphasizing their fusion of indie rock and electronic textures before the project went dormant after the early 2000s. In the mid-2000s, Hook co-founded the supergroup , uniting him with fellow bass icons Gary "Mani" Mounfield (formerly of and ) and (formerly of ), along with vocalist Gary Briggs. Conceived as an all-bass ensemble to highlight low-end grooves and influences, Freebass formed around 2005 and toured sporadically before releasing their debut album, It's a Beautiful Life, in 2010 on Hook's own Hacienda Classical label. The album incorporated , rock, and electronic elements, with tracks like "The White Room" demonstrating the collective's innovative approach to bass-driven arrangements, though internal tensions led to the project's dissolution shortly after release. Throughout the 1990s and 2000s, Hook contributed to various guest appearances and production efforts, leveraging his production alias Be Music (shared with New Order's ) to support emerging acts. Notably, he produced the B-side cover of Black Sabbath's "Paranoid" on the ' 1994 single "Uniform." These collaborations underscored Hook's role as a mentor figure in the local music community, often providing bass or production input to amplify the region's and output. The decade also brought significant challenges for Hook due to the fallout from nightclub, which he co-owned as part of . Opened in , the venue became a cultural icon but suffered from escalating crime, drug issues, and mismanagement, culminating in its closure on June 28, 1997, amid debts estimated at up to £18 million. Hook later reflected that effectively cost approximately £10 per attendee over its lifespan, draining personal and band finances and contributing to Factory's bankruptcy in 1992, which forced Hook to navigate legal and economic repercussions that impacted his creative pursuits.

Peter Hook and the Light (2010–present)

Peter Hook formed the band Peter Hook and The Light in 2010 specifically to perform Joy Division's repertoire live, beginning with the album Unknown Pleasures. The group's debut shows occurred on 18 and 19 May 2010 at FAC 251 – The Factory in Manchester, where they played Unknown Pleasures in its entirety to mark the 30th anniversary of the Factory Records logo. The band remained primarily live-oriented, releasing multiple albums capturing their performances rather than producing original studio material. Early releases included Joy Division's Unknown Pleasures – Orchestral Version (2010) and Unknown Pleasures: Live in Leeds (2012), with later ones such as Power, Corruption & Lies Tour 2013: Live in Dublin (2017) and Substance: The Albums of Joy Division and New Order – Live at Apollo Theatre Manchester (2017), the latter documenting a 2016 concert. Expanding beyond Joy Division, Peter Hook and The Light toured full performances of New Order albums throughout the 2010s, including Closer and Still alongside Unknown Pleasures starting in 2011, Movement and Power, Corruption & Lies in 2013, Low-Life and Brotherhood in 2014, and Technique alongside Republic in 2018–2019. From 2017 to 2018, the band undertook the Substance Live tour, presenting both 's and 's Substance compilation albums in sequence during shows across the , , , and . This tour resumed in 2023 with additional dates in the and Ireland, followed by North American and Australian legs in 2024 featuring the full Substance sets plus select and tracks. In 2025, Peter Hook and The Light shifted focus to New Order's 2001 album Get Ready, announcing performances of it in full accompanied by and hits. The tour includes North American dates from April to May, a run in November, and an Australian outing in July 2026. During a September 2025 NME interview, Hook addressed his ongoing rift with —stemming from his 2007 departure and subsequent legal disputes—and attributed and New Order's non-induction in the 2025 Rock & Roll Hall of Fame class, despite their nomination, to internal band divisions and lack of unified support.

Personal life

Marriages and relationships

Peter Hook's first marriage was to Iris Bates, with whom he was together for approximately 12 years beginning in the mid-1980s. His second marriage, to actress and comedian , took place in in 1994 and ended in divorce in 1997 after a highly tumultuous period marked by Aherne's struggles with and . Hook later detailed instances of during the relationship, including attacks with knives, bottles, and chairs, which he attributed in part to her health challenges. Aherne's brother publicly disputed these claims following her death in 2016, describing them as inappropriate given the passage of time. In 1996, Hook met Rebecca Jones at a Haçienda event and began a relationship with her; he described her as "the one." The couple married in December 1997 and have remained together since, with Jones authoring The Hacienda: Threads on the nightclub, published in 2024, with a by Hook. Hook's personal relationships have at times intersected with his professional ones, particularly his long-standing friendship with bandmate , which began in childhood and soured after Hook's departure from the band in 2007 amid disputes over royalties and creative direction. The feud has persisted, with Sumner stating in 2013 that the band was "happier without" Hook, and Hook calling the rift "unforgivable" in 2020. This strain contributed to Hook's temporary career hiatus before forming .

Family and residences

Peter Hook has three children. From his first marriage, he has a son, Jack Bates, who is a professional bassist and has toured with since 2015, and a daughter, Heather. With his current wife, Rebecca Jones, he has another daughter, Jessica, born in 1999. Hook was raised in a working-class family in , . Over the years, his residences have reflected changes in his personal and professional life. He spent his early years in before moving to around 2000, where he has made his primary home in the affluent village of for over two decades; he has described the area as reminiscent of a British counterpart to upscale coastal spots abroad. Additionally, Hook divides his time between and Majorca, Spain, spending approximately half the year at his residence in Port d'Andratx. The financial fallout from the [Haçienda](/page/The_Haçiend a) nightclub, which resulted in massive debts for and in the early 1990s, placed significant strain on Hook's family life, nearly costing him his first marriage and stability for his children; despite this, he supported his family by continuing to perform and tour with the band during a period of recovery.

Playing style and technique

Bass playing

Peter Hook's bass playing is renowned for its innovative use of high-register melodies layered over root notes, a he pioneered during his time with . This approach transformed the bass from a foundational instrument into a lead melodic element, often drawing from guitar-like phrasing to create tension and atmosphere. In tracks like "" from Joy Division's 1979 album , Hook employs ascending high-register lines on the upper strings while sustaining lower root notes, allowing the bass to weave prominently through the mix and complement the sparse guitar work of . This style emerged partly from practical necessity—Hook played higher on the neck to cut through the band's loud live sound—but evolved into a deliberate signature that influenced bassists. Central to Hook's sound is his incorporation of effects such as and delay, which imbued his lines with an ethereal, atmospheric quality reminiscent of reggae influences. The effect, in particular, added a shimmering, wide spread to his high-register playing, as heard in Joy Division's "," where it enhances the emotional urgency of the melody. Delay units further extended these lines, creating echoing trails that mirrored the genre's themes of isolation and repetition. These production choices were amplified by Joy Division's producer , who drew from techniques to emphasize space and reverb in the bass tone. Hook's influences also included punk bassists like of the Stranglers and the raw energy of the , whom he saw live in 1976, inspiring his aggressive, pick-driven attack shortly after he purchased his first . With the formation of in 1980, Hook adapted his technique to incorporate electronic elements, shifting toward sequencer-driven root bass lines while retaining his high-register melodic role. In songs like "," sequencers handled the pulsing low-end foundation, freeing Hook to focus on intricate upper-register patterns that bridged punk's immediacy with synth-pop's precision. This hybrid approach maintained the atmospheric depth from his era but introduced a more dance-oriented groove, influenced by the band's exploration of dub-derived echoes in electronic contexts. In live performances with , formed in 2010, he has adapted his style to recreate both and material faithfully, often emphasizing the high-register melodies while relying on bandmates, including his son Jack Bates on additional bass, to cover lower-end duties and sequencers. This setup allows Hook to deliver the original lines with punk-like intensity on stage, preserving the innovative "lead bass" ethos across decades.

Vocals and other contributions

Peter Hook has occasionally taken on vocal duties in his later projects, often with reluctance due to his primary identification as a . In , formed in 2010, he serves as for performances of and material after initial singers dropped out amid fan backlash, with gospel singer encouraging him to step up. His delivery adds a distinctive, introspective tone to covers like New Order's "," emphasizing emotional depth in live settings. While not a central vocalist in —where David Potts handled lead duties—Hook contributed backing vocals and occasional leads in that band's output. Beyond performing, Hook holds co-writing credits on several New Order tracks, reflecting the band's collaborative process. He co-wrote "" (1983), the group's seminal electronic single, alongside , Stephen Morris, and , drawing from influences like Kraftwerk and in late-night rehearsals. This extended to other hits like "" and "True Faith," where Hook's input shaped melodic structures and lyrical themes developed collectively with input from manager . His songwriting emphasized rhythmic drive and atmospheric tension, integral to New Order's evolution into dance-oriented . Hook also assumed production roles in his side projects, blending his electronic sensibilities with rock foundations. For Revenge's debut album One True Passion (1990), he co-produced tracks that fused industrial beats and guitar riffs, experimenting with synth-heavy arrangements. Similarly, he produced Monaco's Music for Pleasure (1997), overseeing its polished electronic pop sound amid the era. In Haçienda-related endeavors, Hook served as for Classical, reimagining club anthems like New Order's "" with orchestral elements alongside DJs Graeme Park and , culminating in live shows and a 2016 album. Complementing these efforts, Hook has engaged in DJing and electronic compositional experiments, extending his Haçienda legacy into solo ventures. He compiled and mixed The Haçienda Classics (2006) and The Haçienda Acid House Classics (2009), curating sets of tracks that captured 's rave scene. In interviews, Hook reflects on his DJ experiences as chaotic yet formative, influencing experimental electronic work like collaborations with the Manchester Camerata for symphonic remixes. These pursuits highlight his ongoing exploration of electronic textures beyond traditional band formats.

Equipment

Bass guitars

Peter Hook's first bass guitar was a Gibson EB-0 copy, acquired in 1976 for £35 shortly after seeing the Sex Pistols and used in early live performances with Warsaw. He began his career with a Hondo copy of the Rickenbacker 4001 bass guitar during the Joy Division era in the late 1970s, an instrument noted for its bright, jangly tone that suited his innovative high-neck playing approach. As formed in the early 1980s, Hook transitioned to models like the Shergold Marathon six-string bass, which provided extended range for the band's evolving electronic and melodic soundscapes. Around 1980, he adopted the BB1200 series, drawn to its flat neck profile and active electronics, which he used on subsequent recordings and tours for their reliable projection and versatility. In 2020, released the limited-edition BBPH Peter Hook Signature Model, blending features from his favored BB1200S and the BB734A, including a reversed VSP7n split single-coil pickup, active three-band with active/passive switching, a three-piece alder/maple/alder body, and a five-piece /mahogany neck for enhanced playability. In recent live performances with Peter Hook & The Light, he favors the BB734A alongside and models, selected for their tonal clarity and stage durability. These instruments, emphasizing bright and ergonomic , have enabled Hook's melodic bass lines to function as lead elements in and contexts.

Amplification and effects

Peter Hook's amplification setup during the late 1970s and 1980s primarily featured Hiwatt Custom 100 heads paired with speaker cabinets, delivering the raw, high-gain tone central to Joy Division's sound on albums like . For effects processing, chorus effects were achieved via pedals such as the Clone Theory, providing the shimmering, melodic modulation heard in tracks like "," while delay units contributed echoing repeats to enhance atmospheric depth. Examples include rack-mounted chorus units for live reliability, often paired with his bass guitars to create a lead-like presence in the mix. Hook's rig evolved from purely analog processing in , emphasizing direct, gritty signal chains, to greater integration with digital synthesizers in , where effects like chorus and delay blended bass tones with electronic elements for a more expansive, dance-oriented sound on albums such as . In the 2020s, for tours with , his setup incorporates SVT-CL heads with matching cabinets for consistent power and clarity, alongside modern effects including the Joyo D-Seed digital delay for precise echoes and the Boss RV-2 reverb to add spatial ambiance, maintaining the iconic high-register style while adapting to contemporary stage demands.

Legacy

Cultural impact

Peter Hook's innovative bass playing style, characterized by high-register melodies and a prominent lead role, significantly shaped the genre and influenced subsequent generations of musicians. His approach, often employing open-string drones and effects, elevated the from a rhythmic foundation to a melodic instrument, as seen in tracks like "" and "." This technique inspired bands in the 2000s, including , whose former ist Carlos was noted for emulating Hook's style, and Editors, whose driving bass lines echo Hook's melodic intensity. As a co-founder and director of nightclub in , Hook played a pivotal role in fostering the scene of the late and early 1990s, which blended , , and culture. Opened in 1982 by , the venue transitioned from struggling live music spot to a global epicenter for after embracing DJs like Mike Pickering in 1988, catalyzing the UK's rave explosion and influencing youth culture across Europe. 's legacy under Hook's involvement symbolized 's reinvention as a hub, promoting baggy fashion, ecstasy-fueled parties, and bands like , while facing challenges like gang violence that ultimately led to its 1997 closure. Hook has been a vocal for the induction of and into the Rock & Roll Hall of Fame, highlighting ongoing tensions and perceived oversights in recent years. In 2025, the combined nomination for both acts marked their latest attempt, but they were not selected, prompting Hook to speculate in interviews about internal band disputes and institutional biases delaying recognition despite their seminal impact on . Throughout the 2020s, Hook has embraced mentorship roles, guiding younger musicians through his band Peter Hook & The Light, which performs full catalogues of and material, and sharing insights in interviews on creativity and legacy preservation. He has emphasized inspiring emerging talent by recounting his self-taught journey and the importance of , as noted in discussions ahead of that blend education with performance.

Film and media portrayals

Peter Hook has been portrayed in films depicting the Manchester music scene and Joy Division's history. In Michael Winterbottom's 2002 comedy-drama , which chronicles and the rise of and , Hook was played by actor , capturing his role as Joy Division's bassist and New Order co-founder. The film features Little's Hook as a key figure in the chaotic Factory ecosystem, including scenes at nightclub. In Anton Corbijn's 2007 biographical film , focused on Joy Division frontman , Hook was portrayed by Joe Anderson, who depicted the musician's early days in the band and his distinctive bass style. Hook himself praised the film's accuracy in a 2022 interview, noting it as a "very good feature" despite its emotional precision, though he did not appear on screen. Hook appeared as himself in the 2007 documentary Joy Division, directed by Grant Gee, where he provided personal recollections alongside bandmates and . The film interweaves archival footage, interviews, and performances to explore the band's formation, rise, and Curtis's death, with Hook reflecting on the group's influences and internal dynamics. In media surrounding and , Hook featured in interviews tied to his 2009 book The Haçienda: How Not to Run a , which details the venue's turbulent ; promotional discussions, such as a 2009 feature, highlighted his firsthand accounts of the club's cultural highs and financial lows. More recently, in 2025 interviews, Hook addressed ongoing feuds with former bandmates and his touring activities. In an Consequence , he described the band's current performances as a "bad cover version" of their classic sound, amid lingering tensions over royalties and creative direction. A piece covered his views on 's Rock & Roll Hall of Fame snub, attributing it to internal divisions, while discussing his "Get Ready" world tour with Peter Hook & The Light, performing and material. These appearances underscore Hook's continued presence, often revisiting his pivotal role in Manchester's .

Discography

Joy Division

Peter Hook joined as bassist in 1976, forming the rhythmic foundation of the band's sound through his innovative, high-register playing that emphasized melodic over traditional root-note patterns. His contributions spanned the group's entire studio output from 1978 to 1980, including co-writing all original material with bandmates , , and Stephen Morris, and performing bass on every track. Hook's style, often drawing from guitar techniques, created interlocking lines that propelled songs like the urgent in "" and the echoing pulse in "Shadowplay." The band's debut album, (1979), featured Hook's bass across its ten tracks, recorded in just six days at under producer , whose experimental techniques amplified the band's stark intensity. Hook co-wrote every song and provided backing vocals on "Interzone," while his prominent lines—such as the climbing melody in "She's Lost Control" and the brooding drive in "Day of the Lords"—helped define the album's atmospheric tension. Although the band had input during sessions, production credit went solely to Hannett, a decision Hook later reflected on as transformative despite initial frustrations with the polished sound. Closer (1980), Joy Division's sophomore and final album, continued Hook's central role, with his bass anchoring the record's more introspective and rhythmic shifts, released posthumously after Curtis's death. Co-written entirely by the band, tracks like "Twenty Four Hours" showcased Hook's riff-driven approach, developed in collaboration with , while "Decades" highlighted his sustained, hypnotic lines amid Hannett's reverb-heavy production at Cargo Studios. Hook was absent during some mixing due to personal commitments but later expressed dissatisfaction with Hannett's detached style, preferring a rawer edge. Hook's bass work extended to Joy Division's key singles, all co-produced by the band alongside , allowing greater creative control than on the albums. "" (1978) featured Hook's urgent, ascending bassline as the song's lead element, co-written and performed during early sessions. "She's Lost Control" (1979), also on , doubled as a with Hook's jittery mirroring Curtis's themes of , earning co-production credit for the band's input on and . The 1980 "Atmosphere" highlighted Hook's sparse, resonant bass amid piano and strings, co-written as a poignant closer to the band's era. Finally, "" (1980), Joy Division's biggest hit, incorporated Hook's propulsive —conceived with —as its emotional core, with the band co-producing the tense, urgent mix at . In live settings, Hook's bass replicated and expanded these studio elements, as heard on posthumous compilations like Still (1981) and The Complete BBC Recordings (2001), where he also contributed occasional vocals.

New Order

Peter Hook joined the remaining members of Joy Division—Bernard Sumner, Stephen Morris, and Gillian Gilbert—to form in 1980, serving as the band's bassist and occasional vocalist and keyboardist until his departure in 2007. His distinctive, high-register lines, often played with a low-slung style, provided a melodic to Sumner's guitar and the band's increasing electronic elements, bridging their roots with influences absorbed from New York clubs like the . Hook also contributed to songwriting across most tracks, co-authoring hits like "Blue Monday" and "True Faith," and delivering lead vocals on early songs such as "Dreams Never End" and "Doubts Even Here" from their debut album. New Order's studio discography during Hook's tenure reflects a sonic evolution from raw to synth-driven , with his bass anchoring the rhythm section alongside Morris's drumming. Their debut, (1981), retained Joy Division's brooding intensity, featuring Hook's lead vocals on two tracks and his co-writing credits on all songs. Follow-up (1983) marked a shift toward textures, highlighted by the instrumental single "Blue Monday," co-written by Hook, which became the best-selling 12-inch single ever at the time due to its innovative sequencer-driven beat and Hook's pulsing bassline. Albums like (1985) and (1986) deepened this hybrid sound, with Hook providing backing vocals on tracks like "" and clashing creatively over production directions that sometimes downplayed his bass prominence. By the late 1980s, embraced influences on (1989), where Hook's rhythmic supported upbeat singles like "," co-written by the band. The 1990s brought a more guitar-oriented rock edge with (1993), featuring the Hook-co-written single "," a top-five hit driven by his melodic . After a hiatus, Get Ready (2001) returned to organic instrumentation, showcasing Hook's prominent on tracks like "," while (2005) blended electronics and rock, with Hook contributing to songs like "Jetstream." Key singles beyond "Blue Monday" underscore Hook's impact, including "Bizarre Love Triangle" (1986) from Low-Life, a synth-pop staple co-written by the band with Hook's bass adding emotional depth, and "Regret" (1993), which exemplified their mature songcraft. These releases, alongside others, fueled the Haçienda nightclub's success as a dance venue. Hook's multifaceted involvement—spanning bass, vocals, keyboards, and writing—helped define New Order's innovative fusion of genres over 27 years.

Revenge

Revenge was a short-lived project formed by Peter Hook in 1989, following tensions within New Order after their album Technique, allowing Hook to explore a distinct sound blending his signature basslines with new collaborators. The band's sole studio album, One True Passion, was released in June 1990 on Factory Records (FACT 230), marking a shift toward an electro-rock hybrid characterized by dense arrangements, hard rock edges, and pulsating dance beats that emphasized electronic influences over New Order's established post-punk dance fusion. The album featured provocative artwork designed by Peter Saville, including images of scantily clad women, which aligned with its themes of sin, redemption, and urban escape, reflecting Manchester's hedonistic club scene. Tracks such as "Pineapple Face," "Big Bang," "Slave," and "It's Quiet" showcased Hook's prominent bass work alongside keyboards from Chris Jones and guitar contributions from Dave Hicks, creating a noisier, more aggressive aesthetic. Revenge released three singles to promote the album: "7 Reasons" in November 1989 (FAC 247), which introduced the band's raw energy with its mix of attitude and electronic grooves; "Pineapple Face" in April 1990 (FAC 267), a highlighting surf-rock tinged rhythms and Hook's driving ; and "Slave" in October 1990 (FAC 279), featuring remixes that amplified its dancefloor appeal through layered synths and influences. These singles received limited promotion due to Factory's financial struggles, contributing to the project's modest commercial footprint despite critical nods to its innovative fusion of acoustic grit and electronic experimentation. The Revenge era concluded abruptly in 1992 with the EP Gun World Porn (FAC 327), a limited-release collection of outtakes and new material like "State of Shock" and "Cloud 9," underscoring the band's electronic leanings amid ' bankruptcy. Hook's divided commitments between and ultimately led to its dissolution, restricting the project to this core output and cementing its status as a footnote in his discography.

Monaco

Monaco was a musical project formed by Peter Hook in collaboration with David Potts, a singer-guitarist from his prior band . The duo's output focused on melodic pop tracks with prominent vocals by Potts, highlighting Hook's production and contributions. Their sole completed album, Music for Pleasure, was released on 9 June 1997 by in the . The record peaked at number 11 on the . The album's , "What Do You Want From Me?", marked the project's commercial peak by reaching number 11 on the upon its March 1997 release.

Freebass

Freebass was an English rock supergroup formed in 2005 by bassists Peter Hook (of and ), Gary "Mani" Mounfield (of and ), and (of ), emphasizing their shared instrument in a collaborative project that blended rock, dub, and influences. The lineup later included vocalist Gary Briggs of , with additional musicians contributing guitars and production. This bassist-centric ensemble represented a unique gathering of Manchester music legends, highlighting Hook's ongoing interest in bass-driven experimentation following his tenure. The group's sole studio album, It's a Beautiful Life, was released digitally in April 2010 via Hook's Records imprint, with expanded physical CD editions following on September 20 in (via Essential Music) and December 7 worldwide (via 24 Hour Service Station). Conceived amid stalled solo and band efforts, the project took five years to materialize due to scheduling conflicts and creative refinements, resulting in a 13-track record featuring guest vocalists like Tim Burgess and . The album's sound fused the members' distinctive bass styles—Hook's melodic lines, Mounfield's groovy funk, and Rourke's fluid pop sensibility—into expansive, atmospheric tracks that paid homage to their roots while exploring modern production. Prior to the full album, issued the Two Worlds Collide EP in March 2010 (digital) and August 2010 (CD), which included early singles like "You Don't Know This About Me" (featuring Tim Burgess) and "Live Tomorrow You Go Down" (with vocals by Hook). "Live Tomorrow You Go Down" was released as a standalone single in June 2010, available in vocal and mixes, capturing the band's electro-infused rock edge. Additional EPs, such as You Don't Know This About Me – The Arthur Baker Remixes and Fritz von Runte vs Freebass Redesign, followed in 2010, extending the project's reach through club-oriented variants. The releases were hampered by internal tensions, culminating in the band's dissolution in September 2010 after Rourke's departure and public disputes between Hook and Mounfield, preventing further output.

Peter Hook and the Light

Peter Hook and the Light, formed in 2010, has primarily issued live albums and recordings that capture their touring performances, with no studio albums released as of 2025. The band's output emphasizes archival captures of full album sets and compilations drawn from and catalogs, often released through independent labels like Let Them Eat Vinyl and LiveHereNow Recordings. These releases document Hook's ongoing exploration of his roots through live reinterpretations. An early live recording, Closer: Live in Manchester 2011, features the band performing Joy Division's second studio album in its entirety during a hometown show, highlighting Hook's vocal delivery and bass lines central to the originals. This was followed in 2012 by Unknown Pleasures: Live in Leeds, a multi-volume set from a performance at The Cockpit venue, preserving the debut Joy Division album's atmospheric intensity with added live energy. In 2013, Power, Corruption & Lies: Live in Dublin emerged from a tour stop, offering a faithful yet dynamic rendition of New Order's 1983 album, complete with synth-driven tracks adapted for the stage. The 2016 triple-disc set Substance: The Albums of and - Live at 16/09/16 compiles performances of key singles from both bands' Substance compilations, recorded during a celebratory tour and emphasizing Hook's role in bridging the two eras. Subsequent releases include 's Technique and Republic (Live at the 9/28/2018) in 2018, which documents two late-1980s albums played back-to-back in , showcasing the band's evolving sound with live improvisation. By 2022, : A Celebration (Live) arrived, drawing from a Apollo performance and blending rarities with classics to mark the ongoing legacy of 's influence. In 2023, the band undertook a Substance live tour commemorating the 35th anniversary of the compilations, with performances across and featuring extended sets of hits like "" and "," though no new dedicated live from this run has been issued beyond prior archival material. The band's activities continued into 2025 with the Get Ready tour, performing New Order's 2001 Get Ready in full alongside selections from and New Order across and other regions. As of November 2025, no new live from this tour has been released. No traditional singles have been released, but select live tracks such as "" and "" from earlier performances have been made available as digital downloads. The repertoire largely consists of covers of older material from Hook's tenure in and , reimagined with the current lineup's drive.

Bibliography

Books

Peter Hook has authored several memoirs detailing his experiences in the music industry, particularly with , , and the nightclub. These books provide insider accounts of the bands' formative years, creative processes, and personal challenges, drawing on Hook's perspective as a founding member and . His first major publication, , released in October 2009 by , chronicles Hook's role as co-owner of Manchester's iconic nightclub, established by in 1982. The book details the club's evolution from a venue for performances to a hub for and culture in the late 1980s, highlighting the financial mismanagement that led to massive losses—estimated at over £1 million annually by the early —and its eventual closure in 1997 amid rising violence and drug-related issues. Hook recounts key events, such as early gigs by and Madonna's 1985 performance, while emphasizing the idealism of Factory founders like and the chaotic business decisions that turned the venue into a cultural landmark despite its commercial failure. In 2012, Hook published Unknown Pleasures: Inside Joy Division through Simon & Schuster, offering a chronological of the band's brief but influential career from 1976 to 1980. Structured around gigs and recordings, the memoir focuses on the lives of Hook, , , and Stephen Morris as working-class youths navigating Manchester's scene, their discovery by , and the recording of seminal albums like (1979) and Closer (1980). It delves into Curtis's , personal struggles, and suicide in 1980, portraying the band's raw energy and internal dynamics without sensationalism, while underscoring their transition from to and the impact of producer . The , spanning 416 pages, serves as a to the group's naivety and innovation in music. Hook's 2016 memoir Substance: Inside , also issued by , extends the story from Joy Division's dissolution to 's trajectory through the 1980s and 1990s, culminating in his 2007 departure. At 768 pages, it covers the band's reinvention with , their breakthrough in New York's club scene via tracks like "" (1983), and global success amid internal tensions, particularly Hook's strained relationship with Sumner over creative control and lifestyle differences. The narrative includes accounts of excess involving drugs and alcohol, financial disputes from Hacienda-related debts, and the band's electronic influences, providing discographies and technical insights into albums such as (1983) and (1989). Hook reflects on 's enduring legacy in and while addressing his personal recovery from addiction.

Other writings

Peter Hook has contributed forewords to works exploring and club culture, particularly those tied to and the scene. In 2024, he wrote the foreword for The : Threads by Rebecca Hook, a photographic and testimonial collection on the iconic nightclub's influence on , , and , emphasizing the intertwined elements of and that defined its era. His contributions highlight themes of innovation and legacy from his experiences with , which funded and shaped the venue. Hook has authored articles for major music publications, focusing on the industry's evolution and historical influences during the 2010s and 2020s. For , he penned a 2020 tribute to Kraftwerk co-founder following his death, reflecting on how the band's electronic innovations directly inspired Joy Division's sound and New Order's synthesis of rock and , crediting Kraftwerk for reshaping modern production techniques. Earlier, in a 2009 piece, Hook detailed the Haçienda's founding as a visionary yet financially disastrous venture, critiquing the challenges of blending artistic ambition with business realities in the music and nightlife sectors. Beyond formal publications, Hook shares episodic writings through personal channels on the Haçienda's enduring legacy. He maintains "Hookys Blog" on , where posts from the 2010s (last updated in 2017) offer candid reflections on the club's cultural role, sobriety's impact on his career, and Manchester's heritage, often tying back to broader shifts like touring and band dynamics. These informal essays complement his by providing unfiltered anecdotes on the venue's highs and lows.

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