Bernard Sumner - vocals, guitars, Gillian Gilbert - keyboards
Peter Hook - bass, Stephen Morris - drums
| Musicfolio.com | Reviews & Recommendations |
| New Order Bernard Sumner - vocals, guitars, Gillian Gilbert - keyboards Peter Hook - bass, Stephen Morris - drums |
|
|
|
|
|
|
| "Upon
Curtis' death, guitarist Bernard Sumner (taking
on vocals), bassist Peter Hook, and drummer Stephen Morris added keyboardist
Gillian Gilbert and essentially picked up where Joy
Division left off. (...) It's hard to think about the 1980s at all without
thinking of Temptation or Blue Monday (one of Britain's best
selling singles of all time), taking New Order fully into their own identity by
fusing elements from American hip-hop, sounds and textures from European dance
and keeping a little of their own history intact. The band's next two albums
'Power, Corruption & Lies' and 'Low-life' represent their finest hour. Both
show the band adding and experimenting with their sound, adding stronger
melodies, cooler rhythms and sounds, driven by Hook's moody bass sounds and
Sumner stoic, heartfelt vocals, especially on the latter's Love
Vigilantes."
-- Courtney Holt, Launch.yahoo.com
1981: Movement 
"Movement, shows a band struggling with its former identity. Sumner sounds like a poor impression of Curtis, and the band shows unwillingness to break free of their previous sound; still, there are a few moments."
-- Courtney Holt, Launch.yahoo.com
 ¾ 1983:
Power, Corruption and Lies" New Order's second album was their giant step out of the looming shadow of Joy Division, clearly establishing their own unique and innovative musical identity. Seamlessly incorporating Gillian Gilbert's lush synth patterns into the mix, 'Power, Corruption and Lies' springs from the propulsive, almost liquid bass of Peter Hook and the increasingly strong compositional skills of Bernard Sumner to firmly install the group as a cutting-edge electronic dance unit, one with unsurpassed reserves of humanity and depth -- tracks like Age of Consent and the shimmering Your Silent Face speak to the mind and the body in equal measure. The U.S. release also appended their breakthrough club hit Blue Monday, a masterpiece of the genre."
-- Jason Ankeny, AMG
¾ 1984: Low-Life"While some of the dark-wave drippings of their Joy Division roots are evident, high energy progressions, which would carry them for years to come, began to emerge here. Hits like "Perfect Kiss" and "Sub-Culture," with their synth hooks, club-stomping accents, and visceral lyrics, helped bridge the gap for growing synth-pop audiences who bolstered their success. Other refined techniques on the album became standard New Order conventions: sweeping analogue rolls, live and sequenced drum percussion, tight bass melodies, and edgy guitar leads. Sustained by a peerless level of emotional involvement, the vocals and lyrics further entice the listener with the obliquely nuanced style of Bernard Sumner. Standing the test of time, this release is a must-have in order to understand the origins of introspective pop-wave culture. "
-- Lucas Hilbert, amazon.com reviews
1986: Brotherhood "(...) Lighter than their previous album, New Order adds a touch of pop rock-you can hear tidbits of jangly guitar buried underneath the dense production that has become the hallmark of the Factory sound..."
-- CMJ via Cdnow
1987: Substance New Order's 12" singles mixes on 2 CDs (24 tracks). ½ 1989: Technique"Although other New Order albums have been mighty danceable, this recording contains a masterful use of the acid-house trends storming the club scene in 1989, when this album was released. New Order embraced the technology that was available at the time but never substituted brilliant song structures with prefabricated formats that sequencers, samplers, and other high-tech noisemakers can easily provide. They intelligently used these devices to incorporate elements of a broader genre beyond the "New Order sound," proving that even while experimenting with musical trends and other fleeting diversions, this accomplished group is capable of pulling off a genre-defining album without ever losing sight of their own identity"
-- Beth Bessmer, amazon.com reviews
1993: Republic"Republic" is the culmination of 12 years work by New Order. Since "Movement" in 1981 New Order had shown a lot of promise with some classic tracks such as Blue Monday, Temptation and Thieves Like Us, but these flashes of inspiration only really started to become more regular around the time of "Low Life" (1985 - who could forget Elegia!). While "Brotherhood" (1986), in my opinion, was a slight retrograde step, "Technique" (1986) contained by far their most consistently high quality set of songs so far. In 1993 "Republic" came along and wiped the floor with pretty much everything that had gone before! Everything appeared to have come together for "Republic", in particular the claustrophobic feeling of much of New Order's work had disappeared leaving a more open, musical sound. While every track on "Republic" is exellent, Ruined In A Day and, in particular, Special stand out as being, in their own words, special!
John McCabe, for musicfolio.com, 5/02
1995: Best of New Order17 hit songs spanning 1981 to 1993, including everything from Blue Monday and Bizarre Love Triangle to True Faith and Regret. 2001: GetReady
"Touched by the hand of God? Well, it's not 'Low Life' or 'Technique' but there's at least seven welcome additions to the New Order canon and in the thrilling Crystal and poignant Run Wild, a brace of bona fide classics. As Barney puts it, 'Good times around the corner, I swear it's getting warmer."
-- Chris King, dotmusic.com
2005: Waiting for the Sirens CallTracklisting: 01. Who’s Joe? 02. Hey Now What You Doing 03. Waiting For The Sirens’ Call 04. Krafty 05. I Told You So 06. Morning Night And Day 07. Dracula’s Castle 08. Jetstream 09. Guilt Is A Useless Emotion 10. Turn 11. Working Overtime "Vocalist Bernard Sumner and Bassist/Fledgling D.J. Peter Hooks, fresh from their guest stint on Gwen Stefani's solo tryst, are two of three original members in the line up. Unfortunately, because of family obligations, keyboardist and Electronic cohort Gillian Gilbert has bid the band adieu yet her hubby Stephen Morris is still an active participant. As Waiting For The Siren's Call begins, the lush strings and orchestrated bass bells build, inciting the listener to wonder in what direction this decoupage might lead. From there, the melodies and lyricism have a certain body but are far from mesmerizing, as it becomes evident that there is little reason to consider their compositions as innovative as New Order's technological mastery was once deemed. The album's inspiration becomes forthright as shades of power emo rock, a splash of dancehall and a sixties homaged pentameter appear to be braided to the source. In the first released single Krafty and in a handful of others, there are many resemblances to their past work formula as Bernard's vocal tone is akin to a fingerprint, distinctively wavering and clearly one of a kind. (...) In Jetstream a down tempo disco-tronica cut, the female vocals by Ana Matronic abound with spelling lessons, frolicking call and answer lines and is surrounded by airline effects that is virtually begging for an up-tempo D.J. Tiga remix. Respect should be given to New Order for their enduring tenacity but let's hope for a better attempt at their future recordings."
-- L/V, explodingplastic.com, 03/05
2011: Lost Sirens Tracklisting: 1. “Stay With You” 2. “Sugarcane” 3. “Recoil” 4. “Californian Grass (Doomy)” 5. “Hellbent” 6. “Shake It Up” 7. “I’ve Got A Feeling” 8. “I Told You So” Release date: Dec 2011 |
______ |
Charts | Lyrics/Poetry | Links | Contact Us | Advertising Copyright © 1999-2012 - musicfolio.com - All Rights Reserved |