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Following the passing of the charismatic front man, NEW ORDER underwent a well-documented musical transformation, aided by the advancements in music technology. Bernard Sumner in particular relished the opportunity to further his craft by recording with other artists. Although more naturally inclined to the live environment, Peter Hook did bring his experience into the studio as well, while Stephen Morris and Gillian Gilbert primarily found an outlet for their knowhow within television.
But there are still a significant number of tracks which featured the artistic input and involvement of a NEW ORDER member that are worthy of discovery and recognition. So here are 20 tracks which encapsulate the spirit of NEW ORDER through the medium of collaboration and joint working, restricted to one track per project and presented in chronological order.
Peter Hook provided his distinctive melodic six-string bass and dynamic production came from Steve Nye. Produced by Bernard Sumner and Donald Johnson, the clattering drum machine accompanied by ominous synth lines and hypnotic sequenced modulations dominated what was to become a much revered cult club classic. Reeder often sent records to Bernard Sumner from the emerging electronic club scenes around the world. The original singer slated as the vehicle for these tunes was Kim Wilde , but when this fell through, Gilbert took over on lead vocals.
Stephen Morris was a fan, hearing kindred spirits in their use of sequencers next to live drums and guitars, sometimes on the brink of post-industrial noise chaos. So a collaboration was not totally unexpected in this union of the sorcerer and the apprentice. A Mancunian supergroup of three bassists Hooky, Mani and Andy Rourke that spent five years in gestation before imploding.
It was in at the height of his punk success that Radar Records, an offshoot of Warners who had Elvis Costello and Nick Lowe on their roster, offered Rushent an opportunity to start his own label and production company. Radar had been founded by the team that had hired Rushent for United Artists and the offer included funding to build what was to become his Genetic Sound Studios complex at his home in Reading.
With his new office based above The Blitz Club and a desire to move away from guitar bands, Rushent became fascinated by the New Romantic movement and its electronic soundtrack provided by their resident DJ Rusty Egan. Their demos had been offered to EMI but were turned down….
Despite this set back, this experience helped Rushent realise that music production moving towards being more computer-driven, so he bought a Roland MC8 Micro-composer along with a Roland System and Jupiter 4. A strong advocate of clarity in instrument voicing and as a former drummer, how drum sounds were achieved, the availability of the Linn LM1 Drum Computer in was the final piece in the jigsaw and the set-up helped Rushent realise his vision.
Following his divorce, Rushent was forced to sell Genetic Sound Studios to avoid bankruptcy. But just as momentum was returning to his music career, Rushent sadly passed away in June , aged Of course the production and engineering skills I gained working with him were invaluable but I also learnt about how to create the right atmosphere for and during recording, something which I think is often overlooked.
Focussing primarily on his work with synthesizers and technology, The Electricity Club looks back at the post-punk career of Martin Rushent. After numerous contractual issues, it was finally released as a single on Genetic Records but within days, Warners closed down his funding source at Radar Records. But encouraged by all the synthesizer technology being used in his studio, Rushent saw the future. Rushent suggested to frontman Shelley that the two of them should work on new material using the Roland MC8 Micro-composer and System Despite being shrouded in melancholy, it was catchy and danceable enough to be a UK Top 10 hit.
The vocals were virtually unintelligible as the clattering Linn Drum, pulsing synths, squawky guitar and sax merged together for a cool dancefloor friendly tune full of the decadent spirit of the times.
Pre-sampling, the material was remixed from the mixing board using a multitude of effects with vocal stutters created by cutting up small portions of tape and splicing them together with the aid of his custom-made ruler. It was difficult but never the less a total education. James Murphy has never been afraid to wear his influences on his sleeve. The title song previewed earlier this year is possibly a musical statement reflecting on the political situation in the US. With some brilliant infinite guitar soloing along for the ride, Nancy Whang counterpoints with an assured rap to finish this superb slice of cerebral art funk.
But aside from celebrating his history and telling his story, Hook has been recording new material. The song is very musically you … how did the demo sound when it was first presented to you and what inspired the lyrics? How did you find it? I was terrified at first but once done it was great. What were the biggest challenges for you in ensuring such a long and complex setlist worked well as a live presentation?
That must be the most under rated of all New Order songs? It is, a great little pop tune that turned out not to be indicative of our new direction. People love to hear it. How has the book been generally received overall? It works well, it is just to recreate a club vibe with violins.
A lot of these songs have never been performed, that I think is what people love. The Electricity Club gives its warmest thanks to Peter Hook. It includes electro club tracks released between and , as well as more recent remixes and productions.
Layered with synths and bassline programming with an infectious machine rhythm, Shaun Ryder remarked that if the song had been released on a label other than Factory, it would have been a hit!
The hybrid of authentic Manchester soul and New York electro-influences was not surprisingly a cult success across the Atlantic. The Be Music journey moves to Berlin where renowned remixer Mark Reeder made his home in , having become fascinated by the artistic diversity of the city. Reeder often sent records to Bernard Sumner from the emerging electronic club scenes and this influenced his whole outlook on music.
It has to be said, this second instalment of classic and new recordings is more mixed. Some say it is genius, others a load of repetitive bleeping to an incessant four-to-the-floor beat! Disc 3 collects together some assorted band contributions and a number of Peter Hook productions. Whether you are a fan of NEW ORDER and the legend of Factory Records or would like to discover some lesser known but brilliant electronic pop jewels, this terrific collection is a must.
Search for:. Photo by Glenn A Baker. Photo by Donald Christie. We met again at Rewind Festival. I was inspired by them. The spirit is great! Discuss… It is, a great little pop tune that turned out not to be indicative of our new direction. Very well, I have had no law suits. Christ… Court, Jail, the lunatic asylum, bankruptcy… who knows but it will be interesting.
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