My radio show Music for the Masses ran for a couple of years in total around fifteen years ago, and in its second incarnation I ran an Artist of the week section, which I’ve been trying to digitise recently just so we’ve got it as a vaguely interesting archive of where our favourite artists were back then. It’s full of errors and hyperbole, so once again, please accept my apologies for that.
This week’s artist of the week doesn’t need any introduction – in fact, I hardly need to say anything about them at all, as the story is already very widely known. They are New Order.
They formed in 1980 out of the remains of Joy Division, and initially continued in much the same vein. The debut album Movement was in many ways overshadowed by Ian Curtis‘s death, and was not especially successful.
The second album Power, Corruption and Lies followed in 1983, and was the first to see them experimenting with industrial electronic sounds, it was the first of many classic albums, and followed hot on the heels of the best selling 12″ single ever, Blue Monday, which sold well over a million copies.
They were always best known for their refusal to accept standard music industry practices, such as playing Top of the Pops and releasing singles that appeared on albums. The following albums Low-Life and Brotherhood are still some of their best, containing many groundbreaking tracks, and their almost universal compilation Substance added True Faith to their astonishing list of hit singles.
At the end of the 1980s they released Technique; which is arguably their finest album to date, which was followed by their first and only number one with the football hit World in Motion.
In 1993 they made their return with Republic. These days most fans regard it as a mistake, and it’s true that the album tracks have lost the exploratory feel of earlier albums – however, the hits Regret and World in Motion [sic.] are more of New Order‘s best tracks to date, so it should not be forgotten.
Against all odds, after spending most of the 1990s concentrating on other projects, they returned once more with 2001 ‘s Get Ready album, a much harder and darker offering which is still entirely listenable, and now, four years on, they are back again with a new album Waiting for the Sirens’ Call, due next week. Judging by the first single Krafty, it sees them return to their electronic roots, and looks extremely promising.
Well, of course as I mentioned at the beginning, their roots weren’t really electronic, but hey, I’ve already apologised for the errors in here – of which there are definitely many – so I won’t repeat myself again.