New Order (band)
New Order are an English rock band formed in 1980 by vocalist and guitarist Bernard Sumner, bassist Peter Hook, drummer Stephen Morris. The band formed following the suicide of lead singer Ian Curtis. New Order's integration of post-punk with electronic and dance music made them one of the most acclaimed and influential bands of the 1980s, they were the flagship band for Manchester-based independent record label Factory Records and its nightclub The Haçienda, worked in long-term collaboration with graphic designer Peter Saville. While the band's early years were shadowed by the legacy of Joy Division, their experience of the early 1980s New York club scene saw them incorporate dance rhythms and electronic instrumentation into their work, their 1983 hit "Blue Monday" became the best-selling 12-inch single of all time and a popular club track. In the 1980s, they released successful albums such as Power, Corruption & Lies and the singles compilation Substance, they disbanded in 1993 to work on individual projects before reuniting in 1998.
In the years since, New Order has gone through various hiatuses and personnel changes, most prominently the departure of Hook in 2007. They released their tenth studio album Music Complete in 2015. Between 1977 and 1980, Ian Curtis, Peter Hook, Stephen Morris, Bernard Sumner were members of the post-punk band Joy Division featuring heavy production input from producer Martin Hannett. Curtis took his own life on 18 May 1980, the day before Joy Division were scheduled to depart for their first American tour, prior to release of the band's second album, Closer; the rest of the band decided soon after Curtis's death. Prior to his death, the members of Joy Division had agreed not to continue under the Joy Division name should any one member leave. On 29 July 1980, the still unnamed trio debuted live at Manchester's Beach Club. Rob Gretton, the band's manager for over twenty years, is credited for having found the name "New Order" in an article in The Guardian entitled "The People's New Order of Kampuchea".
The band adopted this name, despite its previous use for former Stooge Ron Asheton's band The New Order. The group states that the name New Order does not draw a direct line to National Socialism or Fascism; the band rehearsed with each member taking turns on vocals. Sumner took the role, as he could sing when he wasn't playing his guitar, they wanted to complete the line-up with someone they knew well and whose musical skill and style was compatible with their own. Gretton suggested Morris's girlfriend Gillian Gilbert, she was invited to join the band in early October 1980, as keyboardist and guitarist, her first live performance with the band occurred at The Squat in Manchester on 25 October 1980. The initial release as New Order was the single "Ceremony", backed with "In a Lonely Place"; these two songs were written in the weeks. With the release of Movement in November 1981, New Order started on a similar route as their previous incarnation, performing dark, melodic songs, albeit with an increased use of synthesisers.
The band viewed the period as a low point. Hook commented that the only positive thing to come out of the Movement sessions was that producer Martin Hannett had showed the band how to use a mixing board, which allowed them to produce records by themselves from on. More Hook indicated a change of heart: "I think Movement gets a raw deal in general – for me, when you consider the circumstances in which it was written, it is a fantastic record."New Order visited New York City again in 1981, where the band were introduced to post-disco and electro. The band had taken to listening to Italian disco to cheer themselves up, while Morris taught himself drum programming; the singles that followed, "Everything's Gone Green" and "Temptation", saw a change in direction toward dance music. The Haçienda, Factory Records' own nightclub opened in May 1982 in Manchester and was issued a Factory catalogue number: FAC51; the opening of UK's first superclub was marked by a nearly 23-minute instrumental piece entitled "Prime 5 8 6", but released 15 years as "Video 5 8 6".
Composed by Sumner and Morris, "Prime 5 8 6"/"Video 5 8 6" was an early version of "5 8 6" that contained rhythm elements that would surface on "Blue Monday" and "Ultraviolence". Power, Corruption & Lies, released in May 1983, was a synthesiser-based outing and a dramatic change in sound from Joy Division and the preceding album, although the band had been hinting at the increased use of technology during the music-making process for a number of years including their work as Joy Division. Starting from what earlier singles had hinted, this was where the band had found their footing, mixing early techno music with their earlier guitar-based sound and showing the strong influence of acts like Kraftwerk and Giorgio Moroder. Further in this direction was the electronically sequenced, four-on-the-floor single "Blue Monday". Inspired by Klein & MBO's "Dirty Talk" and Sylvester's disco classic, "You Make Me Feel", "Blue Monday" became the best-selling independent 12" single of all time in the UK.
This resulted in a sticker being applied to unsold copies of Power, Corruption & Lies album saying, "DOES NOT CONTAIN BLUE MONDAY". The song was included however on the cassette format in some countries, such as Australia and New Ze
Live at the London Troxy
Live at the London Troxy is a live album by New Order, recorded on 10 December 2011 at The Troxy in London. The concert was released in both a 320kbit/s MP3 download; the download was made available on 21 December 2011, while the 2-CD set shipped the first week of January 2012. This release was the first since the band decided to reunite with its new lineup, featuring the return of keyboardist Gillian Gilbert, Tom Chapman replacing former bassist Peter Hook; the sold-out show was their first performance in London in over five years, the album includes the entire performance. During their 90-minute set, New Order performed songs spanning 25 years of hits, alongside songs not played live since the 1980s, culminating with a rendition of Joy Division's "Love Will Tear Us Apart". All songs written by Bernard Sumner, Stephen Morris, Peter Hook and Gillian Gilbert, except where noted
Factory Records was a Manchester-based British independent record label, started in 1978 by Tony Wilson and Alan Erasmus, which featured several prominent musical acts on its roster such as Joy Division, New Order, A Certain Ratio, the Durutti Column, Happy Mondays and Orchestral Manoeuvres in the Dark and James. Like the 4AD label, Factory Records used a creative team which gave the label and the artists recording for it a particular sound and image; the label employed a unique cataloguing system that gave a number not just to its musical releases, but to artwork and other objects. Factory started in January 1978. At that time there was a punk label in Manchester called Rabid Records, run by Tosh Ryan and Martin Hannett, it had several successful acts, including Slaughter & the Dogs, John Cooper Clarke, Jilted John. After his seminal TV series So It Goes, Tony Wilson was interested in the way Rabid Records ran, was convinced that the real money and power were in album sales. With a lot of discussion, Tony Wilson, Rob Gretton and Alan Erasmus set up Factory Records, with Martin Hannett from Rabid.
The Factory name was first used for a club in May of that year, which featured local bands including the Durutti Column, Cabaret Voltaire from Sheffield, Joy Division. Peter Saville designed advertising for the club, in September Factory released an EP of music by acts who had played at the club called A Factory Sample. In 1978, Wilson compered the new wave afternoon at Deeply Vale Festival; this was the fourth live appearance by the fledgling Durutti Column and that afternoon Wilson introduced an appearance by the Fall, featuring Mark E. Smith and Marc "Lard" Riley on bass guitar; the Factory label set up an office in Erasmus' home on the first floor of 86 Palatine Road, the Factory Sample EP was released in early 1979. Singles followed by A Certain Orchestral Manoeuvres in the Dark; the first Factory LP, Joy Division's Unknown Pleasures, was released in June. In January 1980, The Return of the Durutti Column was released, the first in a long series of releases by guitarist Vini Reilly. In May, Joy Division singer Ian Curtis committed suicide shortly before a planned tour of the USA.
The following month saw Joy Division's single "Love Will Tear Us Apart" reach the UK top twenty, their second album Closer was released the following month. In late 1980, the remaining members of Joy Division decided to continue as New Order. Factory branched out, with Factory Benelux being run as an independent label in conjunction with Les Disques du Crepuscule, Factory US organising distribution for the UK label's releases in America. In 1981, Factory and New Order opened a nightclub and preparations were made to convert a Victorian textile factory near the centre of Manchester, which had seen service as a motor boat showroom. Hannett left the label, as he had wanted to open a recording studio instead, subsequently sued for unpaid royalties. Saville quit as a partner due to problems with payments, although he continued to work for Factory. Wilson and Gretton formed Factory Communications Ltd; the Haçienda opened in May 1982. Although successful in terms of attendance, attracting a lot of praise for Ben Kelly's interior design, the club lost large amounts of money in its first few years due to the low prices charged for entrance and at the bar, markedly cheaper than nearby pubs.
Adjusting bar prices failed to help matters as by the mid-1980s crowds were preferring ecstasy to alcohol. Therefore the Haçienda ended up costing tens of thousands of pounds every month. In 1983 New Order's "Blue Monday"; the label didn't make any money from it since the original sleeve, die-cut and designed to look like a floppy disk, was so costly to make that the label lost 5 pence on every copy they sold. Saville noted that nobody at Factory expected Blue Monday to be a commercially successful record at all, so nobody expected the cost to be an issue.1985 saw the first release by Happy Mondays. New Order and Happy Mondays became the most successful bands on the label, bankrolling a host of other projects. Factory, the Haçienda, became a cultural hub of the emerging techno and acid house genres and their amalgamation with post-punk guitar music. 1986 saw Mick Middles' book Joy Division to New Order published by Virgin Books. In 1989 the label extended its reach to fringe punk folk outfit To Hell With Burgundy.
Factory opened a bar and a shop in the Northern Quarter of Manchester. Factory's headquarters on Charles Street, near the Oxford Road BBC building, were opened in September 1990. In 1991, Factory suffered two tragedies: the deaths of Dave Rowbotham. Hannett had re-established a relationship with the label, working with Happy Mondays, tributes including a compilation album and a festival were organised. Rowbotham was one of the first musicians signed by the label. Saville's association with Factory was now reduced to designing for New Ord
State of the Nation (New Order song)
"State of the Nation" is a 1986 single by New Order. Like most songs by the group, it was composed by all of its members. However, unlike other New Order tracks, the title is included not just in the regular song lyrics but in the chorus; the protest song has appeared in several releases by the group including in the popular singles compilation Substance. The 12" version of the song is twice as long as the 7" version, includes an additional verse; the B-side was an alternate arrangement entitled "Shame of the Nation", which included, among other elements, backing vocals. This was produced with John Robie, marking the group's third collaboration with him; the Australian 12" was the same as the UK 12", but the 7" version of the song was only released as the B-side of "Bizarre Love Triangle". Though not included on most standard releases of the concurrently-released studio album Brotherhood, the 12" version of the song was included as a bonus track on some versions and was included on the US 12" version of "Bizarre Love Triangle".
The 12" version of "Shame of the Nation" is included on the 2008 Collectors Edition of Low-Life. Both sides of the 12" version were collected on the Substance compilation; the 7" version of "State of the Nation" was collected on the Singles compilation. The 7" version of "Shame of the Nation" can only be found on the original 7" vinyl release, on the B-side of the Australian 7" of "Bizarre Love Triangle"; this song has a feature rare in a New Order single: the song title not only appears in the narrative, but is the chorus. Only a few New Order singles have titles consisting of words. All tracks written by Peter Hook, Stephen Morris and Bernard Sumner. Notes: 1 - Charted together with "Bizarre Love Triangle". Lyrics of this song at MetroLyrics
Low-Life is the third studio album by English rock band New Order, released on 13 May 1985 by Factory Records. It is considered to be among the band's strongest work, displaying the moment they completed their transformation from post-punk hold-overs to dance rockers; the album shows New Order's increased incorporation of synthesisers and samplers, while still preserving the rock elements of their earlier work. The original Factory CD issues of the album were mastered with pre-emphasis; the songs on this album formed the basis of the band's live concert video Pumped Full of Drugs, filmed in Tokyo shortly before the album's release. The music video for "The Perfect Kiss" was directed by Jonathan Demme; the album's artwork is the only New Order release to feature photographs of the band members on its cover. The CD comes packaged with drummer/keyboardist Stephen Morris on the front cover, but inside the case are four photographs and a semi-transparent piece of paper with the band's name, allowing the owners to choose which band member is seen through the sleeve.
The album was preceded by the release of the full-length version of "The Perfect Kiss" as a single. John Robie's remix of "Sub-culture" was released as a 12" single. Both of these extended versions were included on 1987's Substance. In 2008, the album was re-released in a Collector's Edition with a bonus disc, including the unreleased 17-minute complete version of "Elegia" and, for the first time in digital format, the unedited 12" mix of "The Perfect Kiss". In a contemporary review of Low-Life for the Los Angeles Times, Richard Cromelin stated that New Order's "varied menu of soul-pop, techno-rock, delicate instrumental moods, driving, clattering percussion offers adventure in texture at every turn", that while the album did not contain anything as "transcendent" as "Love Will Tear Us Apart", "its confidence and imagination suggest that the possibility is still there." Robert Christgau of The Village Voice noted New Order's attempt to insert some "affect" into its music and wrote that the band "has its heart in the right place, so one doesn't want to quibble".
Despite panning "Love Vigilantes" as "an appallingly naive self-parody", Steve Sutherland of Melody Maker wrote that the remainder of the album "boasts the most articulate sound since The Cocteaus' Treasure, elevating depression to ecstasy". John Bush of AllMusic wrote that Low-Life was "in every way, the artistic equal" of Power, Corruption & Lies, as well as "the point where the band's fusion of rock and electronics became seamless." The A. V. Club's Josh Modell noted that the album "completely locked the disco influences into sync with New Order's pop leanings." David Quantick, writing in Uncut, felt that Low-Life was "the first New Order album that sounds like an album", with Bernard Sumner's "most human lyrics" complementing Gillian Gilbert and Stephen Morris' "pop axis" and Peter Hook's "breath-taking" bass performances. In 2000, Q magazine placed Low-Life at number 97 in its list of the 100 Greatest British Albums Ever. Low-Life, alongside New Order's 1989 album Technique, was included in the book 1001 Albums You Must Hear Before You Die.
The song "Elegia" was featured in the Academy Award-nominated short film More by Mark Osborne, was used in the E3 2015 trailer for the video game Metal Gear Solid V: The Phantom Pain and the Netflix series Stranger Things. New OrderBernard Sumner – vocals, melodica, synthesizers and programming, percussion Peter Hook – 4 and 6-stringed bass, electronic percussion, backing vocals on "This Time of Night" Stephen Morris – drums, synthesizers and programming Gillian Gilbert – synthesizers, guitars and programmingProductionNew Order – production Michael Johnson – engineering Mark and Tim – tape operators UK 12" – Factory Records UK cassette – Factory Records US 12" – Qwest Records US cassette – Qwest Records UK CD – London Records Low-Life on New Order Online Low-Life on World in Motion
Technique is the fifth studio album by English rock band New Order, released on 30 January 1989 by Factory Records. Recorded on the island of Ibiza, it incorporates Balearic beat and acid house influences into the group's dance-rock sound; the album was influenced by the growing acid scene, Sumner's experiences in the 500 Club in New York and Shroom in London. It was the first in a few of their albums. Technique was New Order's final studio album to be released under Factory Records. Technique was the first New Order album to reach number one on the UK charts, "Fine Time", the first single from the album, reached number 11. Remixed versions of "Round & Round" and "Run" were released as singles. In the late 1980s, the band felt. Bernard Sumner reflected; that was the nature of the time. The way I saw it was we were still writing band music as well, so we'd reached a compromise." Peter Hook joked that the album was "an epic power struggle between me. I was resisting it valiantly, because I still wanted us to be a rock band."Sumner wrote all of the lyrics.
When recording on the island of Ibiza, the band was influenced by the environment around them and became fascinated by Balearic club music. Gillian Gilbert recalled, "We had Mike with us, so there was always somebody doing something, but it was the beginning of us not being together in the studio when we were doing things, it was like,'oh you do your drums today, I'll do the vocals tonight...' The songs were sort of there but there were huge chunks missing. You'd leave blocks and say,'will you fill that in? I'm off now.'" The band had chosen to record in Ibiza at Hook's urging after a series of records made in "dark and horrible" London studios. Stephen Morris described the sound of the Balearic beat clubs on the island they began to visit as "mad! They'd put an acid record on and the next one would be a Queen one—it was schizophrenic, really. It'd be something Spanish and something daft, it was a odd mix but it all seemed to make sense when you were there. I don't why. Maybe because we were all a bit out of our brains."Following four months spent in Ibiza, the band shifted to Peter Gabriel's Real World Studios to finish recording, which Sumner referred to as a "much more sober atmosphere".
For Hook, "Technique sounds fantastic considering. I think it catches a summer sound brilliantly." Morris mentioned that the album had an "end of term, last day of school feel about it". To promote the album, music videos were produced for the three singles. An instrumental version of "Vanishing Point" was used at the time on the BBC series Making Out. John Denver's publishing company filed a lawsuit, alleging that the guitar break in "Run" too resembled Denver's "Leaving on a Jet Plane"; the case was settled out of court. Technique received positive reviews from music critics upon its release. Melody Maker's Chris Roberts hailed the album as "a rare and ravishing triumph", while NME wrote that the band had "fashioned an LP of unflinching honesty, free from the masks of false identities of their past." Robert Christgau of The Village Voice called New Order a "lot franker and happier than Depeche Mode" and felt that the band had "lightened up". Craig Lee of the Los Angeles Times wrote that "with the exception of'Fine Time,' there may be little new ground broken here, but when it comes to the sound of a broken psyche, New Order never misses a beat."
Ira Robbins, writing in Rolling Stone, stated that Technique "delivers a solid blast of sonic presence with immaculate playing" and called it a "surprisingly inviting album from this reserved outfit". Technique has since garnered critical acclaim in retrospective reviews. John Bush of AllMusic referred to the album as "another classic record" by New Order and stated that their "instincts for blending rock and contemporary dance resulted in another confident, superb LP." Spin magazine's 1995 Alternative Record Guide cited Technique as New Order's best album because it represented the perfect synthesis of the band's abilities as a punk-influenced rock band and as synthpop pioneers. David Quantick of Uncut called it a "powerfully contradictory album: not only is it an Ibiza record that's New Order's least techno-ey, but it's a chirpy, upbeat album with mature lyrics"; the A. V. Club's Josh Modell referred to Technique as New Order's "last great album", as did BBC Music's Ian Wade, who added that the album showed "a New Order ready for the next decade, adding to their superb reputation."
Keith Gwillim of Stylus Magazine contended that New Order "may have made better records, but none of them defines them, sounds so quintessentially like what they were always reaching for, quite as well as Technique."Tom Ewing of Pitchfork labelled Technique as "magnificent" in 2008 and stated that the album "takes the easy interplay and full-band sound of Brotherhood and drenches it in good Ibiza vibes". However, he criticised the Collector's Edition bonus material as containing only "listless B-sides and instrumentals, functional remixes". Technique has been listed by several publications as one of the best albums of the 1980s and of all time. I
UK Singles Chart
The UK Singles Chart is compiled by the Official Charts Company, on behalf of the British record industry, listing the top-selling singles in the United Kingdom, based upon physical sales, paid-for downloads and streaming. The Official Chart, broadcast on BBC Radio 1 and MTV, is the UK music industry's recognised official measure of singles and albums popularity because it is the most comprehensive research panel of its kind, today surveying over 15,000 retailers and digital services daily, capturing 99.9% of all singles consumed in Britain across the week, over 98% of albums. To be eligible for the chart, a single is defined by the Official Charts Company as either a'single bundle' having no more than four tracks and not lasting longer than 25 minutes or one digital audio track not longer than 15 minutes with a minimum sale price of 40 pence; the rules have changed many times as technology has developed, the most notable being the inclusion of digital downloads in 2005 and streaming in July 2014.
The OCC website contains the Top 100 chart. Some media outlets only list the Top 75 of this list; the chart week runs from 00:01 Friday to midnight Thursday, with most UK physical and digital singles being released on Fridays. From 3 August 1969 until 5 July 2015, the chart week ran from 00:01 Sunday to midnight Saturday; the Top 40 chart is first issued on Friday afternoons by BBC Radio 1 as The Official Chart from 16:00 to 17:45, before the full Official Singles Chart Top 100 is posted on the Official Charts Company's website. A rival chart show, The Vodafone Big Top 40, is based on iTunes downloads and commercial radio airplay across the Global Radio network only, is broadcast on Sunday afternoons from 16:00 to 19:00 on 145 local commercial radio stations across the United Kingdom; the Big Top 40 is not regarded by the industry or wider media. There is a show called "Official KISS Top 40", counting down 40 most played songs on Kiss FM every Sunday 17:00 to 19:00; the UK Singles Chart began to be compiled in 1952.
According to the Official Charts Company's statistics, as of 1 July 2012, 1,200 singles have topped the UK Singles Chart. The precise number of chart-toppers is debatable due to the profusion of competing charts from the 1950s to the 1980s, but the usual list used is that endorsed by the Guinness Book of British Hit Singles and subsequently adopted by the Official Charts Company; the company regards a selected period of the New Musical Express chart and the Record Retailer chart from 1960 to 1969 as predecessors for the period prior to 11 February 1969, where multiples of competing charts coexisted side by side. For example, the BBC compiled its own chart based on an average of the music papers of the time; the first number one on the UK Singles Chart was "Here in My Heart" by Al Martino for the week ending date 14 November 1952. As of the week ending date 18 April 2019, the UK Singles Chart has had 1352 different number-one hits; the current number-one single is "Someone You Loved" by Lewis Capaldi.
Before the compilation of sales of records, the music market measured a song's popularity by sales of sheet music. The idea of compiling a chart based on sales originated in the United States, where the music-trade paper Billboard compiled the first chart incorporating sales figures on 20 July 1940. Record charts in the UK began in 1952, when Percy Dickins of the New Musical Express gathered a pool of 52 stores willing to report sales figures. For the first British chart Dickins telephoned 20 shops, asking for a list of the 10 best-selling songs; these results were aggregated into a Top 12 chart published in NME on 14 November 1952, with Al Martino's "Here in My Heart" awarded the number-one position. The chart became a successful feature of the periodical. Record Mirror compiled its own Top 10 chart for 22 January 1955; the NME chart was based on a telephone poll. Both charts expanded in size, with Mirror's becoming a Top 20 in October 1955 and NME's becoming a Top 30 in April 1956. Another rival publication, Melody Maker, began compiling its own chart.
It was the first chart to include Northern Ireland in its sample. Record Mirror began running a Top 5 album chart in July 1956. In March 1960, Record Retailer had a Top 50 singles chart. Although NME had the largest circulation of charts in the 1960s and was followed, in March 1962 Record Mirror stopped compiling its own chart and published Record Retailer's instead. Retailer began independent auditing in January 1963, has been used by the UK Singles Chart as the source for number-ones since the week ending 12 March 1960; the choice of Record Retailer as the source has been criticised. With available lists of which record shops were sampled to compile the charts some shops were subjected to "hyping" but, with Record Retailer being less followed than some charts, it was subject to less hyping. Additionally, Retailer was set up by independent record shops and had no funding or affiliation with record companies. However, it had a smaller sample size than some ri