One record at a time: 269. New Order - Low-Life

The original pressing of this record came with a semi-transparent "onion skin" sleeve that allowed the owner to swap the image showing on the front. Alas, a great many of these original sleeves are now torn and a good second hand copy is hard to come by. As a consequence of this sleeve fragility, I am playing a recent repressing with a standard cardboard sleeve and a flimsy inner bag that I was given as a Christmas present.

"Love Vigilantes" is a bizarre opening track that sounds like a pub band playing John Denver. The lyrics could be considered naive at best and the delivery is almost laughable. And yet, you can't help continuing to listen with the same morbid fascination that drives people to watch a car crash - we're intrigued to see just how bad things turn out. We instantly jump from the ridiculous to the sublime with the introduction of lead single "The Perfect Kiss". This track is fantastic eighties synth-pop and is head and shoulders above everything else on this record. The lyrics are nonsensical and I know purists bemoan the fact that the album version is heavily edited from the original; but for the more casual fan like myself, this still hits the spot. "This Time Of Night" is fairly standard indie/dance fare which is nice enough without really setting the world on fire. There's some overly long post punk rock in the form of "Sunrise", but it's not one I enjoy.

On the flip side we have instrumental "Elegia" which is a sombre tribute to former band mate Ian Curtis. As the track plods along in a fairly skeletal fashion, it is easy to tell it was intended to accompany visuals where it would have benefited from some added stimulus. "Sooner Than You Think" recycles the sonic palette used on "The Perfect Kiss" and sounds pretty good despite Bernard's best efforts to scupper it with inept vocals. The version of "Sub-Culture" presented here is far superior to the slightly kitsch disco versions John Robbie created for the single release. I think a good part of the reason I don't like this song is because I have always been more familiar with the single remixes where everything sounds forced and disjointed. The the album version is better as its raw energy sounds honest and less contrived. Things finish off with "Face Up" which seems to have set out to be a hi-energy stomper, but as Hooky and Bernard are playing and singing in completely different keys, things turn out as a real mess. 2/5

One record at a time: 268. New Order - Power, corription and Lies

My first experience of New Order was listening to a borrowed cassette of "Substance" in 1987. At first I was struck by the 'indie' nature of the music and disappointed it wasn't the slick synth-pop of their latest hit single. In fact, I struggled to find the new single on either cassette as there were no track names that sounded even vaguely like: "I used to think that the day would never come, I'd see delight in the shade of the morning sun". 

The style of the music on "Substance" was inconsistent and everything sounded vaguely out of tune to my young ears. At the time I felt New Order were just too enigmatic and they clearly weren't a band for me.

Over the next few years I had various brushes with New Order but I didn't purchase any of their music until 1994 when "The Best Of " was released. By this time I was earning a meagre wage and felt I could afford to take a punt and finally work out what this band were all about. Thirty years later I still don't think I fully understand New Order, but I have a much greater appreciation for their music and have gone on to purchase a good chunk of their back catalogue.

"Power, Corruption and Lies" is the second album released by the band in 1983 and I purchased this modern repress in 2021. I may have mentioned previously that one of my pet peeves is record labels that don't clearly state which side of the record you are looking at. This particular record is guilty of this offence and, as I lay it on the platter, I make a mental note to deduct half a point for the infraction.

Compared to their first album (which was recorded in a very particular set of circumstances) the music on this record is slightly less morose. Whilst "Age of Consent" and "We All Stand" still rely on Hooky's distinctive bass and Stephen's manic drumming, everything feels buoyant and spirited. 

The first substantial use of electronic instruments comes on "The Village" which has a brilliant Moog Source bassline bubbling under Bernard's vocal, along with loads of other synth arpeggios and textures. "5 8 6" starts as a weird experimental piece before suddenly bursting into life with a very familiar sound.

The best track on the album is "Your Silent Face" which features the immortal line "You've caught me at a bad time. So, why don't you piss off?". The synth lines on this track are almost perfect and it matches contemporaneous masterpieces like "Temptation" in quality. "Ultraviolence" mixes snippets of DNA from "Blue Monday" with the maudlin sensibilities of Joy Division to good effect. "Ecstasy" is a largely instrumental piece that uses an electronic bassline and some nifty vocoder to encapsulate the change of direction this album represents. Final track "Leave Me Alone" sounds more like one of the traditional band recordings we heard at the start of the album. It's not a bad song, but as the album has gradually progressed into an electronic sound, it feels a retrograde step to end up exactly where we started.

When discussing this album, the elephant in the room is the omission of "Blue Monday". Not including one of your biggest hits and a seminal moment in electronic music on the album is the kind of illogical thing many artists did in the eighties. Yet, it is probably for the best that it isn't on here as "5 8 6" and "Ultraviolence" have strong similarities and would have paled in comparison. Even the best songs on this record like "The Village" and "Your Silent Face" might not shine as brightly if the 'biggest selling 12" of all time' was included; so lets accept the album as it is. 3/5

One record at atime: 266. Naked Eyes - Burning Bridges

This isn't the first time I've messed up the order of my reviews and I am sure it won't be the last. For some reason this record was filed incorrectly and I only discovered it at the back of the shelf today. I wonder how many more I might have missed over the last couple of years...

As I pore over the sleeve of this slightly yellowed original LP, I notice it is produced by Tony Mansfield. I immediately associate Tony with two things: a-ha and the Fairlight CMI. Whilst the credits tell us Fairlight was used on here, it isn't that obvious and the final sound is lush and varied.

The more you look at them, the more imposing the credits for this album get. As well as Fairlight it uses a NED Synclavier 2, PPG Wave, an OBXa, Prophet 5 and an Emulator. If these instruments weren't impressive enough, I then notice it was recorded at Abbey Road and mixed at Pete Townsend's Eel Pie Studios. EMI clearly threw a lot of money at this project back in 1982 - I can't imagine how much it cost to put together. Personally, I think the money was well spent and every penny can be heard in the finished product.

The opening track "Voices in my Head" sets the stall out early with its unashamed synth-pop styling that is infused with rhythm and infectious hooks. I love the organ solo in the middle of this song and the various synth textures that rattle around augment Pete's vocals nicely. The opening of "I Could Show You How" features a great synth melody and there are analogue percussive elements running throughout the song that make me think Rob Fisher and Tony Mansfield must have been some sort of synth programming geniuses. 

"A Very Hard Act to Follow" has a very sparse introduction using the detuned clap from a Linn LM-1 and a sample that sounds like it is from the Fairlight. This is another great composition that is full of hooks and melodic elements that prove to be very catchy. There's a cover version of the Burt Bacharach standard "Always Something There To Remind Me" which makes liberal use of Simmons SD1 toms and is a pleasing addition. Once again there is some stunning synth work on "Fortune and Fame" and "Could Be" provides a nice change of pace. In fact the later song is so good it can even withstand a mercifully short saxophone solo (it was the eighties after all). 

The flip side opens with the title track which sounds good but doesn't feature quite as many flourishes as some of the stronger material on the album. Speaking of strong tracks, "Emotion in Motion" is one of my favourites. The synth work on the introduction of this song is sublime and recedes perfectly to allow Pete's cracking vocals room to breathe. As "Low Life" fires up I thought the bassline could almost be the ubiquitous DX7 preset E.BASS 1 but as there is no DX7 on this record, it is probably from the Synclavier. There's another slower track with "The Time is Now" which is good without setting the world on fire.

"When the Lights Go Out" has a fairly standard verse but the chorus blooms with a great melody and analogue synth rhythms that remind me of  "Ice Machine" by Depeche Mode. We go out on a high with the single "Promises Promises" which has fabulous rhythm guitars (courtesy of producer Tony Mansfield) and an infectious melody that makes me want to go back and play the record again. Having played the record again I realise this is only the second time I have done this in listening to over 250 LPs.

In terms of sound reproduction this has to be one of the nicest records I own. Whilst it may not have deep bass and sparkling top end, it is very sympathetic to the material. Despite being forty years old, my copy is in near perfect condition and doesn't make a pop or crackle anywhere. This record seems to have been issued in a polythene lined inner and its sound is testament to a time when vinyl was pressed well.

This record and Naked Eyes are most definitely underrated here in the UK and its a real shame they are not revered more highly. I only became aware of them when "Voices in my Head" was recommended to me on last.fm in May 2011. The band's relative obscurity is probably due to the fact that they didn't tour or play live much; but have no doubt, this album is a synth-pop classic waiting for the world to wake up to its genius. 5/5

One record at a time: 267. New Order - Movement

I saw a television programme recently in which Peter Hook described "Movement" as, "A Joy Division album sung by New Order". There's no doubt that New Order's debut is a transitional piece that ploughs the same furrow as Joy Division rather than offering us something new. 

Here I will be playing a copy of the 2016 repressing which is visually unremarkable, but seems to win universal praise for how it sounds.

The opening track "Dreams Never End" is a relatively primitive band recording involving bass, acoustic drums and guitar. The vocals are provided by Peter Hook as the band hadn't decided who was to be the new singer when it was recorded. The song is relatively upbeat and has some nice melodic elements, but I can't say I enjoy the strange double tracked vocal.

"Truth" is a maudlin drawl that features some primitive synth sounds and a drum machine alongside the usual guitar and bass. There's a four on the floor kick drum to open "Senses" and a rumbling synth that suggests this is going to be something more lively. Stephen's trademark roto-toms come rattling through before we hear Hooky's distinctive high basslines. For me this is one of the first songs that points to the sound the band would later develop. "Chosen Time" is surprisingly rapid in tempo but somehow manages to sound brooding and sullen at the same time. 

"ICB" and "The Him" are reflective pieces but the latter sounds naive in its realisation and I am growing very tired of Stephen's insistent toms by this point. Hooky returns on vocals for the disappointing "Doubts Even Here" and the slightly more upbeat "Denial" finishes things off. The trouble with this album is that it gives me the feeling of what it is like to be a goldfish: thirty seconds after a track has finished I can't remember anything about it. Everything sounds fairly similar with rattling toms, choppy guitars and largely indistinguishable vocals buried in the mix. The real New Order were yet to emerge from the shadows of Joy Division. 2/5

One record at a time: 265. Róisín Murphy - Hit Parade

After the disco heights of her previous album, it was inevitable that "Hit Parade" would be a return to the esoteric side of Róisín Murphy's music. This record is a collaboration with DJ Koze that lands somewhere between soul and electronic mayhem. Like most of her other albums, I bought a signed copy of the vinyl when it was released.

I might as well say upfront that I don't like this record. The first track "What Not To Do" is a great intro with rumbling synths and rattling percussion underpinning Róisín's impeccable vocals; but everything goes down hill from here. 

There's a big soul influence on these tracks and many of them include samples of old records. This approach produces a unique sound, but unfortunately, it is not a sound I appreciate. 

"Free Will" has some overt disco references that cause some mild excitement and the single "You Knew" has a tinge of dub that elevates it above the mundane, but everything else is a disappointment. "Can't Replicate" sounds like it is about to break out into Lil Louis "French Kiss" but it never hits despite running for seven and a half minutes. I still feel very disappointed with this record and the sleeve freaks my kids out - so I think it will stay hidden on the shelf for quite some time. 1/5

One record at at time: 264. Róisín Murphy - Crooked Machine

"Crooked Machine" is a remix album that was released seven months after parent album "Róisín Machine". Initially these mixes were only available as digital files but were eventually released on vinyl for Record Store Day. Record Store Day 2021 was held in the days of COVID 'lockdown' so it was a much more civilised affair conducted over the internet.

When I first heard these remixes (all made by producer Crooked Man - hence the title) I was in complete awe and I became increasingly desperate to hear them from vinyl. These mixes are probably best described as deep house dub mixes but there is some variety that means this record offers a good listening experience and isn't just a tool for DJs.

"Kingdom of the Machines" is a take on "Kingdom of Ends" that features a bassline so good it bends my mind. The vocals blend seamlessly with the building beats and atmospheric synths as producer Crooked Man whips us up into a frenzy. It's a stunning piece work. Second track "Echo Returns" takes the album track "Narcissus" and turns it into a dreamy meditation that can either be transcendental or irritating depending on your frame of mind. 

In remixing "Incapable" Crooked Man creates the stupendous "Capable Rhythm" which has a bassline that is simply mind blowing. Róisín's vocal remains intact on this one and ensures this track remains six minutes of pure pleasure. "Assimilation" is a slightly slower, brooding mix that exposes a dark underbelly of "Simulation". We soon emerge from the shadows with "Crooked Madame" which throws glitter on original album version of "Shellfish Mademoiselle" and comes up with a brilliant dance floor groove. 

On the second disc, "Something More" is transformed into "Less Is More" which stomps along quite happily and reminds me a little of the sound of Moloko. The first disappointing mix is "Name Changer" which neither has the irresistible basslines or innovation of other mixes here. I like "We Are The Law" as it removes the vocal manipulation applied the original "Murphy's Law" and gives the song a new lease of life. To finish, the disco panache of "Jealousy" is twisted into a sort of breakbeat mayhem that brings back happy hardcore memories. All in all this is one of the best remix albums you are ever likely to hear and you don't necessarily have to be a fan of the original album to appreciate its majesty. 4/5

One record at a time: 263. Róisín Murphy - Róisín Machine

Having released two albums of rather esoteric material, I wasn't sure what to expect from Murphy's "Róisín Machine". However, the one thing I wasn't expecting was a collection of funky house grooves that would outclass everything else I heard in 2020. 

I own the limited edition double blue vinyl which is sealed in a black plastic bag along with a signed photo, sticker and 'zine'. When it came time to write this post I decided not to open the record and keep it as a sealed collector's item. Instead, I purchased a copy of the "splatter" Album Day edition to play. This is not as extravagant as it sounds because it was relatively cheap on eBay and I had been tempted to buy a second copy before.

Opening track "Simulation" is a relentless house groove that I find simply mesmerising. I used to listen to this song whilst running during the COVID 'lockdowns' and its relentless nature would propel me along no matter how tired I was. I would give anything to be able to write a groove this brilliant and hypnotic. With this first song, producer Crooked Man instantly proves his genius is equal to that of Róisín.

"Kingdom of Endz" is an amazing synth driven track on which Murphy sings the most brilliant harmonies as the kick drum pounds out the beat. I love the synth chords on this track and its constant cycle of build and release really satisfies. "Something More" is a slightly more laid back groove which feels it has more of a song structure but is no less marvellous. The next rack "Shellfish Mademoiselle" is a little more derivative, but the quirky bassline rescues it from mediocrity.

Another favourite of mine is "Incapable" which utilises a seemingly incessant loop to create another mesmerising slab of electronic genius. I really don't understand how it is possible to loop the same two bars for three and a half minutes and make the music sound better and better. To top things off Róisín delivers a heartfelt vocal where she reflects on the breakdown of a relationship.

"We Got Together" has a little bit of grit that means its groove really thunders along. "Murphy's Law" is one of few tracks that has a more traditional song structure and references disco directly. There's more of a a swing beat on "Game Changer" which elevates it to something slightly more wistful than the songs we have heard to this point. The disco theme is continued by "Narcissus" with its string arrangement and fluid bassline. To ensure we finish on a high note Róisín rolls out the funk of "Jealousy" which comes replete with chicken scratch guitars and a pseudo-horn section. I really wish Róisín made more records like this. 4/5