It was apt that New Order’s seminal second album, Power Corruption and Lies was released in Springtime. The May 2nd release in 1982 produced the definitive proof that the three surviving members
of Joy Division together with Gillian Gilbert had achieved the almost unheard of feat of rebirth in becoming a great band twice. The signs had already been there. After the fine but nervously
haunted by past shadows debut, LP, Movement, they embraced a new found confidence. One off singles, Everything’s Gone Green then Temptation signalled a shift in direction. I once read the
best music is a battle between rhythm and melody. These songs incapsulated that. Sequencers and drum machines pristine coldness offset by masterly melancholy.
From the moment Peter Hook’s exuberant bass kicked in on PCL opener, Age of Consent, there is a fist punch the air, “They’ve done it” feel about this record. A tale of love almost crippled by
shyness, it’s a brilliant first track where delicate synths wash over a poignant but irresistible tune. We All Stand is a more somber affair, mean and moody, the sound of a band now with supreme
self confidence in their new skin. The Village showcases what was to become a classic New Order trademark. The ability to reflect happiness, sadness, and wistful longing all in the same tune. 586
the not too distant cousin of Blue Monday sees the band experimenting with the new found love of robotic repetition meeting inspirational inputs from individual group members.
Your Silent Face, based on a simple sequenced keyboard motif, is somehow understated yet epic. With typical perversity, a lengthy song with no chorus, that contains the words, “Why don’t you piss
off” but is the ultimate hit single that never was. Like Kraftwek meets Mozart in heaven. Ultraviolence follows, dark and mechanical yet somehow soaring with light. Hooky playing lead lines on
bass, Sumner’s fragile vocals now turning into a strength. The playful Ecstasy follows. Appropriately named, it precedes dance culture by half a decade, vocoder’s sounding like Donna Summer on a
crafty trip to The Hacienda. Self belief flowing through its veins.
The closing, Leave Me Alone, is simply magnificent. Hooky wrenching every once of emotion out of the driving bass line, complimented by some truly beautiful minimalist guitar. Nothing wasted,
every note counting. Sumner’s lyrics evocative, insistent drumming by Morris leading the piece to a climax. Even on the sleeve, there is sense of rediscovery. Peter Saville mixing a classic
painting of roses with the then new fangled computer colour codes. New Order not playing the pop game yet winning it hands down. A conformation that many great songs, move both the heart and
feet. 38 years on, it still feels fresh. “Our love is like the flowers, the sun, and the sea and the hours.” Yes indeed, that good.
