Completely In Order
This is a predominately Coventry based blog so reviewing the new album by my favourite band from Manchester is a bit self indulgent. But New Order did play a big part in my life growing up in
Godiva's City. I was a big fan of the post punk era particularly, Joy Division. I was also into the whole introspective looking inward bit. As New Order took tentative steps from the shadows of
tragedy, they delved into fresh areas, mixing fresh dance beats with meloncoly laden guitars and keyboards. I began to see where they were coming from. That you could party and make credible music
that interacted with the most important human emotions.
So began my love affair with pub and club culture, mirroring New Order making landmark albums that mixed indie rock and dance with casual brilliance. For the whole of the 80's they were right on
top of their game. But the band were always dogged by deaths fall outs and acrimony. In the end it became too much. Somewhat patchy reunion albums followed. With the passing of manager Rob
Gretton, you got the feeling they'd lost the glue that held it all together.
When the departure of the unique bass legend Peter Hook followed in on of music's most bitter bust up's there appeared no way back, even when underrated keyboard player, Gillian Gilbert, rejoined
the fold. But then came this year's album of new material, Music Complete, a shift back into full on dance influenced music that was most prevalent on the classic Technique album.
Music Complete is quite simply a breath of fresh air. On the track Plastic, there is a nod to I Feel Love as a repetitive retro bass gives the template for a thrilling rhythmic work out. The band
enter different territory during the excellent, Tutti Fruiti. Like the Scissor Sisters on the Hacienda dance floor showing true enthusiasm for love and life. The theme continues during the
standout, People On The High Line, containing a funk groove that Chic would be proud of.
Bringing Le Roux in on vocal duties turns out to be a master stroke, complementing well with Bernard Sumner. Elsewhere, there is a nod to the guitar based beauty of the past on Academic and Nothing
But A Fool. The latter is where Sumner pleads, "Never let her drift away" is a beautiful ode to the perils of taking a loving relationship for granted. The album closer features The Killers, Brandon
Flowers, on Superheated. It's another ace electro based track on the recurring themes of love both needed and lost.
For a work featuring a plethora of vocal and producer collaborators, there is still a strong sense of continuity. Music Complete is New Order's best work since their heyday. As they have done
throughout their career, they face loss and rather than buckle under it, use the situation as a springboard for renewed, inspired creatively.
As a rule, affluent musicians pushing sixty do not make great albums. New Order disprove that theory here with a pulsating collection of songs. Once again, they've triumphed against the odds and
reminded me why their music had been so influential to others and me personally. Oh, I've never met anyone quite like you before.