New Order
(Rhino)
As they did in past years with back catalogues from bands like The Cure and Joy Division, Rhino Records has caringly, painstakingly, and meticulously reissued the first five New Order albums. Originally released on Factory, each record now comes with a bonus disc of alternate 12" versions of songs both familiar and unknown, perfect for the completist who has struggled to obtain hard-to-find import vinyl. A booklet compiled with the cooperation of the band also accompanies each two-disc set, offering detailed liner notes and a snapshot of that particular moment in time. No need to go too deep into the history of the band here, as most are already well-versed in the lore... but from the ashes of Joy Division burst New Order, reshaping the gloomy post-punk they once trafficked in to synthesizer and sequence-heavy electro-rock.
Movement (10 stars): The first step was a small one, though, as the band's nascent post-Joy Division effort basically sounds like, well, a Joy Division record. Still, it's textured in a way Joy Division never was, due to Bernard Sumner taking over vocal duties and producer Martin Hannett brightening up the guitars and bass in songs like "I.C.B." and "Dreams Never End" (sung by bassist Peter Hook). "Ceremony," written by but never performed as Joy Division, is included on the bonus disc, as is "Everything's Gone Green," which Factory head Tony Wilson called "the most important song in the modern world." But bigger things were to come...
Power, Corruption & Lies (8 stars): Considered by the band to be the first proper New Order album, Power appears in its original British form here - minus their massive hit single, "Blue Monday," which appears on the bonus disc. This is quintessential New Order, combining single-picked guitar lines and spindly bass with crisp drum-machine beats. From the early version of "Blue Monday" and "5 8 6," to the mournful closing track, "Leave Me Alone," this is a classic album. The bonus disc finds Sumner and company exploring their club-music inclinations in full for the first time, with unabashed acid numbers like "Confusion" and "Thieves Like Us."
Low-life (9 stars): This was the beginning of New Order's real incursion into the U.S. market, as they signed to Quincy Jones' Qwest label for their stateside releases. They also placed a couple of songs in the movie Pretty in Pink, which no doubt helped the band to even greater heights of popularity. Low-life's many shining moments, the guitar-driven "Love Vigilantes," the flaring "Sunrise," the sinister "The Perfect Kiss," render this their most pop album to date. But this position came with little sacrifice in terms of artistic quality.
Brotherhood (7 stars): In 1986, New Order released Brotherhood, which gave the world another ubiquitous single, "Bizarre Love Triangle." The rock and dance tunes are sort of separated out here, something that Sumner acknowledges added tension to the band whose members didn't necessarily see eye-to-eye on the best direction in which to go. Judging by the liner notes, the album doesn't seem to be a favorite for the band, and although there are some good songs, it lacks the energy of their previous LPs. The bonus disc contains more 12" remixes, including "Blue Monday '88," an updated version of that classic track.
Technique (8 stars): This album would be New Order's last until reuniting in 1993. It's said to be influenced by the acid house explosion of the time, but songs like "All the Way," a dead ringer for The Cure's "Just Like Heaven," also show the band's pop sensibilities at their finest. Now totally gone are the dark post-Joy Division days, replaced by bubbling yet intelligent electronically-rooted rock. This was definitely a step up from Brotherhood, and the culmination of a decade spent honing their drum machine and sequencer work.
Standout Tracks: "I.C.B" (Movement); "Leave Me Alone" (Power, Corruption & Lies); "Love Vigilantes" (Low-life); "Broken Promise" (Brotherhood); "All the Way" (Technique) JONAH FLICKER
