Question: Born in Scotland on 15 June 1792, he was son of John Mitchell of Carron Works and was brought up from childhood by his uncle, Thomas Livingstone of Parkhall, Stirlingshire. On the death of his uncle, he joined the British army in Portugal as a volunteer, at the age of sixteen. On 24 June 1811, at the age of nineteen, he received his first commission as 2nd Lieutenant in the 1st Battalion 95th Rifles (later the Rifle Brigade / Royal Green Jackets). Utilising his skills as a draughtsman of outstanding ability, he was occasionally employed in the Quartermaster-General's department under Sir George Murray.

Mitchell's fourth expedition was into Queensland in 1845-46. He was convinced that a significant river must flow north-west into the Gulf of Carpentaria, this being the main thrust of the endeavour.  On 15 December 1845 Mitchell started from Boree (Buree in Mitchell's journal) with a large party including Edmund Kennedy as second in command (later speared to death at Escape River near Cape York). He struck the Darling River above Fort Bourke then continued to the Narran River, the Balonne, and the Culgoa. On 12 April 1846 he came to a natural bridge of rocks on the main branch of the Balonne which he called St.George Bridge, now the site of the town of St George. Kennedy was left in charge of the main body here, and was instructed to follow on slowly while Mitchell pushed ahead with a few men. Mitchell followed the Balonne to the Maranoa, and the Cogoon (now called Muckadilla Creek, near Roma). This rivulet led him to a magnificent pastoral district in the midst of which stood a solitary hill that he named Mount Abundance. He then crossed a low watershed to the Maranoa and awaited Kennedy's arrival. Kennedy rejoined Mitchell on 1 June 1846.  Leaving Kennedy for a second time, he set out on an extensive excursion of more than four months. Mitchell traversed the country at the head of the Maranoa and discovered the Warrago River. Keeping north over the watershed, he traversed the Claude and Nogoa rivers, then reached the Belyando River, an upper reach of the Burdekin River. This had already been discovered by Ludwig Leichhardt on his expedition to Port Essington on 2 April 1845. Intensely mortified to find that he was on a tributary of the Burdekin River, and approaching the ground already trodden by Leichhardt, he returned to the head of the Nogoa and struck west, after dividing his party and forming a stationary camp. He continued west, making a new discovery which he was certain was the fabled north-west river. In honour of the sovereign of the time he decided to call it Victoria River. Having run out of time, he turned back towards the main party. It was here that Mitchell first noticed the well known grass that bears his name. On the homeward journey he trekked along the Maranoa River to St.George Bridge, arriving in Sydney 20 January 1847. Later that year, Kennedy proved beyond doubt that the Victoria did not continue north-west, but turned south-west and joined Cooper Creek. He renamed the watercourse the Barcoo River from a name mentioned by local Aborigines.

Using a quote from the above article, answer the following question: Why did he call it Mount Abundance?
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Answer: 

Problem: Joy Division were an English post-punk band formed in 1976 in Salford, Greater Manchester. Originally named Warsaw, the band consisted of singer-songwriter Ian Curtis, guitarist and keyboardist Bernard Sumner, bass player Peter Hook and drummer Stephen Morris. The band was formed by Sumner and Hook after attending a 4 June 1976 Sex Pistols concert at the Lesser Free Trade Hall in Manchester. While Joy Division's early recordings were heavily influenced by early punk, they evolved a unique sound, aided by producer Martin Hannett, which earned their reputation as pioneers of the post-punk movement.

Joy Division's style quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge."  By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands).  Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody.  Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality".

What was her sound?

Answer with quotes:
generic and "undistinguished punk-inflected hard-rock