Closer was released to immediate and widespread critical acclaim.
Sounds critic Dave McCullough wrote that it contained "dark strokes of
gothic rock". He described the album as "breathtaking rock music, a peak of current peaks, a sharing of something that's in [...] others at this time, but at the same time defining those black notions and leaving them unmatched." Writing for
Smash Hits, Alastair Macaulay described the album as an "exercise in dark controlled passion" and wrote that its music "stands up on its own as the band's epitaph". Writing for
Melody Maker,
Paolo Hewitt described the album as "probably some of the most irresistible dance music we'll hear this year [and] a far cry for sure from the almost suffocating claustrophobic world of the debut album," adding that "the best (and most subversive?) rock music has always dealt head-on with emotions and thought rather than clichéd, standardised stances; that's what makes
Closer and Joy Division so important." At the end of 1980,
Closer was voted the 22nd best record of the year in the
Pazz & Jop, an annual poll of American critics published by
The Village Voice.
Robert Christgau, the poll's supervisor, deemed the album an improvement over
Unknown Pleasures in a retrospective review: "Curtis's torment is less oppressive here because it's less dominant—the dark, roiling, off-center rhythms have a life of their own. And if last time the dancier material had hooks, this time even the dirges have something closely resembling tunes." In a book titled
1001 Albums You Must Hear Before You Die, published in 2005,
Closer is defined as a "quantum leap" in terms of progression when compared to the band's debut album. According to
Colin Larkin,
Closer has since been "deservedly regarded by many critics as the most brilliant rock album
of the 80s"; Larkin himself found the record flawless, writing in his
Encyclopedia of Popular Music (2011) that it showed Joy Division at their creative peak and "maturity in every area" of their music. In his review of the 2007 reissue of the album,
Pitchfork critic Joshua Klein described the album as "even more austere, more claustrophobic, more inventive, more beautiful and more haunting than its predecessor", calling it "Joy Division's start-to-finish masterpiece; a flawless encapsulation of everything the group sought to achieve." == Legacy ==