Reeder is the intersection for a lot of pathways in music from the late 1970s onwards: as Factory’s man in Berlin, he put on Joy Division’s only Berlin show; he managed Malaria and made slasher films; the electronic records he sent back to Manchester put Bernard Sumner on the path to the dancefloor; he promoted subversive punk shows in East Germany and made mates with musically-inclined dissidents in Czechoslovakia; he started the first trance label, MFS; and he was British TV’s go-to resource for all things Berlin. There is a reason the same picture of him appears in the competing narratives of Joy Division and New Order written by Sumner and Peter Hook.
In a way, B-Movie is a paen to the Wall. It was the Wall that penned in Germany’s outcasts, draft dodgers, artists, junkies, runaways and punks. It made the cauldron within which the city’s creative energy seethed. In their clashes with the Federal Republic’s police and the Democratic Republic’s guards, Berlin’s squatters and songwriters asserted their defiance with little respect for convention. No one would ever want the Wall back, but the soundtrack made in its shadow was second to none.