New Order’s crucial three

Press, 16 June 1983, Page 14

New Order’s crucial three

NEW ORDER “Power, Corruption, and Lies.” (Factory FAC7S) f 3 This is not-hail-the-kings. “Blue Monday” is robot-rock, and the first album (“Movement”) was dreary. But three thrills await on “Power.” New Order are still alone at their station. The line between synth-pap and stretcher-case still belongs to them, except that more people are listening now. They have the rare ability to produce songs of staggering quality. Their first three singles (“Ceremony,” “Procession,” and “Temptation”) still cause me to reach deep into the bag of superlatives.

As I read somewhere once, most of the best bands can always be dire. I am sure there is a lot of tedium and excitement still to come from New Order.

On “Power,” you will be impressed and moved by “Leave Me Alone,” "Your Silent Face,” and “Age of

Consent.” they are three more building blocks for the Reputation. On “Leave Me Alone,” the drummer, Steve Morris, thankfully ignores his “Blue Monday” synth and sits behind his kit to dish out one of his simple, superb riffs. He rarely fusses with drums. The sound is more akin to an effect, but it’s that personal touch that makes the difference.

The guitar line is classically simple too, but that is the essence of New Order at peak drive. “Age of Consent” begins the album. The bass line, from Peter Hook, stares straight at the dance floor, and it is reassuring to see that Hook slings his instrument like Dee Dee Ramone. Who’s talking about image? (This is Not Important). Bernard Albrecht has developed into a singer of some quality, and this has been recognised in the

group’s mix of their album. Don’t tell me that New Order are happy NOW because of Albrecht’s “whoop” in “Age of Consent” — listen to the last 30 seconds of “Everything’s Gone Green.” More comfortable, perhaps. Time has taken them further from past expectations, and they are now strictly on their own merits. “Leave Me Alone” is superb. The vocals are almost plaintive, over midtempo music to feel very close to. A melodica gives it a lift in a manner in which only the Gang of Four (of today’s best) have also succeeded.

This will not read as good as it sounds, but any question of aloofness flies out the window when Albrecht sings “piss off.” New Order can be the most human of all. The only possible regret on that song is the topheavy string effects.

“The rest” should not be

dismissed as such, even though they are overshadowed by the trio just described. “We All Stand” is like a death-march, “only three miles to go ...” I was left wondering what it was about, although the rimshotbased tune was very listenable.

“The Village” is more like the opener, although if this had been the new Genesis album, we critics would not have been kind to the lyrics — our love is like the flowers, the rain, the sea and the hours ... ” New Order? Love it.

Again, the music is extremely modern. Rattling noises try and intrude into a sub-“ Green” drum and guitar pattern. It is a very busy sound. “5-8-6” and “Ecstasy” did nothing for me. The former is virtually “Blue Monday” with vocals. I don’t hate the hit, but it was one of those “no, thanks” hearings, and

the resolve has not weakened. There is a vocoder vocal on “Ecstacy.” Again, the personal touch please.

“Ultraviolence” lends a nod in the rhythm to “Atrocity Exhibition” from “Closer,” but stands on its own as one of the best songs.

New Order have never mixed singles and albums, a creditable policy. The best news is that chart-buyers will purchase this and discover the depth that, their favourite (for now) lacks. A pity that the sleeve will tell them nothing. “Power, Corruption, and Lies” will be one of the year’s best, although it is not a masterpiece. As Elvis Costello sang on “Hoover Factory,” “It’s not a matter of life or death, but what is?” DAVID SWIFT