I'm the first to admit that I thought NO were dead in the water. Get Ready and WFTSC were sporadically worthwhile, some GREAT tunes but at least half of each was dreadful, to me. This latest effort has surpassed all my expectations and has totally delighted me with it's upbeat exuberance. In these times, in todays drab music scene, Music Complete is a GREAT record and I am overjoyed and unashamed to say that I absolutely love it!




:smoking:

These days I don't really like posting reviews until I've owned and lived with the music for at least a few weeks in order to be objective and fair to tracks which can mature and grow upon repeated listens. However like with many people on here the new album has simply been such a revelation in places that I feel like posting something.

Restless - as has been mentioned many times - is a grower but I'm convinced it'll end up there with some of the best guitar-driven tracks they've done. I particularly like acoustic intro of the extended mix on the Japanese pressing that will (presumably) feature on the upcoming single next month. The instrumentation meshes well and the melodies worm their way into your brain which classic Sumner. Singularity and Plastic occupy the same intensely electronic section of the New Order scale which we've missed for a while now. If Singularity isn't an upcoming single then I don't know what should be. Both it and Plastic are a breath of fresh air after years of increasingly derivative guitar-driven albums. It will be a while before I get bored of either of them. Singularity has a great rush/excitement about it which has been absent since perhaps Crystal, try listening to it on headphones on the way to the bus or work... you'll find your pace speeds up (!)

Tutti Frutti really shouldn't work for me on paper but somehow it's just this brilliantly sassy pure pop tune. It feels like a younger, hipper relative of Getting Away With It and Fine Time rolled into one. Kudos to Elly Jackson and her vocal contributions to this record, I never much cared for much of La Roux's output in the past but her work here compliments the music perfectly without overstepping the mark.

I have read some confusion and/or dislike for Stray Dog which I'll happily admit I'm firmly on the other end of the spectrum regarding. I think it's fantastic; dark, different and a little bit left-field. It's like a cousin once-removed of The Other Two's "The Grave" from their Superhighways LP which makes me think that Steve and Gillian were mostly responsible for the music on that one. As for Iggy well he's just got one of those voices hasn't he? The words ebb and flow pretty well, it's probably the best set of lyrics on the album in a funny way.

Academic is just fantastic. One of the few tracks that had me on the first listen and then I found I had to listen to it a further 8 times *just* to make sure it was that good and well, it is. Nothing But A Fool elicits a similar feeling. Unlearn The Hatred and The Game haven't had enough listens to form a fair opinion so I'll refrain for now however I did get the impression that without Unlearn the record would probably have been unaffected.

In terms of least favourite tracks... People On The High Line and Superheated are occupying that particular category at the moment; the latter for being a tad laboured/overproduced and the former for having some fairly dire lyrics. The rhyming dictionary couplets about "needing love" are wearing a little thin. After all, that subject was covered amply on Guilt Is A Useless Emotion. I don't hate those tracks by any means and perhaps they will grow on me as time goes on. I'll certainly be giving further chances.

So there are my high and low points... predominantly high though. Most impressed!

First I love how there is music on here for every type of fan.

Wow what a great cd. Unlearn this hatred is so far my favourite. But I love academic just as much. Tutti frutti is very good, but I don't think it's the best. It will most likely be the second single. Since Gillian told us what new songs they will be playing, this was one of them. Singularity was great, but the drop the guitar part was a little weak, compared to the live version. A little over produced near the end, but I still like it. I was surprised how much I liked Superheated. As much as I would love to see unlearn this hatred as the second single, I truly think Superheated would be a very radio friendly song. Restless is of course great. Plastic is great cd filler, but the above songs are so much better. People on the high line (which they are going to play live) is good, but not great. Hopefully that will change with more listens. I have not made up my mind on nothing but a fool, so far not so good, but has moments. Stray dog I really shouldn't like. I was so against Iggy doing all the vocals. But I do find myself enjoying it. And The Game, or should I say off their game. This was the stinker for me. I will give it a lot more time and listens, but I don't know. Over all great cd.

So many great sounds, so many wry lyrical and musical nods to times and ideas past, so much euphoria and confidence! Top record -- top album in an era where people don't really bother anymore. I never feel an instance of trying to like the songs; some moments surprise me, and there are occasional quirks that are still growing on me, but never a moment where I think they blew 6 mins on a dud song or ruined a good tune with dumb production. The record keeps me amused; in a way it's their most playful ever, and I recall the textural fun had on "The Village", "586", "The Perfect Kiss", and many others. "Stray Dog" has a musical vibe like "Murder", but is much better than that oddball b-side. I think side A is definitely superior, but in a 97% vs 91% kind of way. "Tutti Frutti" is a major highlight. I've spent the last few years listening to so much early 80s R&B and freestyle music, and this is a loving nod to a moment in music that they were once concurrent with; genres they were always awkwardly drawing inspiration from in their characteristically Mancunian way. "People On The High Line" is also fabulous, and it's like they've bested some of the NYC bands (e.g. LCD Soundsystem, Holy Ghost!) that have won kudos and fame updating "Confusion"-era beats. "Unlearn This Hatred" has a verse synth hook that's the most concise floor-stomper in their catalogue. I said in an earlier post New Order actually was best when Steve and Bernard were able to edit the rhythms and electronics together, and with Gillian back in the fold I think she's got almost what I'd call a fan's ear in the band; she knows what an exciting New Order record should sound like, and her contributions help push New Order to create a cinematic, grand pop atmosphere. In some respects it seems like Phil workmanlike qualities have been played down, but just because he doesn't like playing keyboards doesn't mean he hasn't added some bright moments of his own. Having just watched the Electronic Beats Q&A with Arthur Baker, Bernard was actually pretty gracious in highlighting how Phil and Tom came up the basis for "Restless" and "Academic", so even if they are auxiliary by some measure I think their relative youth and excellent musicianship provide a lot of substance underneath the dazzling electronics. Finally, I am enjoying Bernard's chest voice and his ability to massage the lower register that comes with age. Disappointed that some reviews take such pot shots at Bernard's lyrics -- apparently different standards apply to him compared to so many other singer-songwriters just because he's had a couple notoriously bland moments. Really, there are some clever lines on this album that haven't felt this focused since the debut Electronic LP.

I could go on, but these are my immediate impressions. It may have a few imperfect moments but this is a fun record that also has a lot of character and depth. "Singularity" is the New Order / Joy Division / Factory Records story in more ways than one. It's taken multiple films and documentaries to tell that story, and this moody yet ultimately cathartic track gives you that whirlwind cinematic history in 5 and a half minutes. That's proof New Order is a band that loves making music again.

First, an introduction...

I've been a long time lurker of these forums for many years and a devout New Order fan since Blue Monday and PCL changed my life. Although I'm a long time fan, I don't subscribe to the usual "everything after Technique is crap (except maybe Music Complete)" sentiments. In my top 10 New Order tracks (of this moment in time... may change tomorrow) are Regret, Crystal and World. Ok, I'll further admit it now and take my lumps... #1 PCL, #2 Republic, #3 Music Complete, #4 Technique, #5 Low Life... and the rest, I enjoy (very much) but don't scream out as being much better than the others. Too my ears, Music Complete is the perfect follow-up to Republic, not Technique, and WFTSC and Get Ready have enough special moments that I continue to find great joy while listening to them.

So let me continue with my unpopular view on the tracks on Music Complete...

Restless 10/10 - it's an absolutely perfect New Order track. It's a grower, not a shower. 3rd or 4th listening was the sweet spot for me. Now it's a classic, right up there with Regret, Crystal, Your Silent Face, Vanishing Point, Perfect Kiss, etc.

Singularity 10/10 - Wow! This may be the best moody/dark New Order track ever! And yet it has great energy. It references Joy Division just enough to pay homage without being derivative in the least. Tom's bass is absolutely perfect without being intrusive. And it's modern and timeless in a way that only New Order can do.

Plastic 9/10 - 2 days ago this would have been a 10. It blew me away! But now it's just an excellent album track... until I hear some really great remixes. When it was a single release, I loved playing it next to the PSB track Axis and Donna's I Feel Love followed by Giorgio's The Chase, lol. Kudos to NO for giving me such great joy! The only reason it's not a 10 anymore is because they've raised my standards by releasing such an excellent album.

Tutti Frutti 7/10 - A great summer-y tune in the same way Fine Time and R&R was in their day. It makes me wish I was young again. But then, I'd probably be listening to totally crap. But it also feels a tiny bit gimmicky. And thank you Bernard for telling Elly to sing in her "chest voice" and not in her "head voice" as he said in the Berlin interview with Arthur Baker. I really like La Roux but honestly, I was very scared when I heard she was a guest vocalist on several tracks. Her La Roux voice would have been really intrusive. This song also suffers from New Order's innate desire to sabotage songs with terrible names!

People on the HighLine 8/10 - Apparently Stephen did the sequencing on the album (Arthur Baker interview) and Tutti Frutti and PotH absolutely belong together. Putting these two songs together makes each song better somehow. Peter Hook who? Tom again stakes his claim on the new New Order sound. Funky as fuck! And I'm loving Bernard's sexy growl and the Chic bassline. Again, it sunny and summery like Tutti. I wish they could have rushed the release of MC without sacrificing the quality. But then again, Technique was the soundtrack of the summer of '90 for me even though it came out at the end of '89. But now I'm old and tired. Bleah!

Stray Dog 5/10 - love the backing track that Stephen and Gillian developed. Yes, Iggy is rock royalty but this is just an awkward fit. The only duff track on the album? No, Suprerheated is far worse. But Stray Dog makes Academic better in comparison.

Academic 7/10 - This is a very nice rock song as New Order do very well. Album filler, maybe? This is the only track that I miss Peter Hook on although I actually appreciate Tom's bottom-heavy contribution. It still might have been nice to have a nice high bass line melody in this one. It kinda screams for it, no?

Nothing But a Fool 8/10 - The chorus and lyrics raise this song above Academic. Another Joy Division-y song for me. I appreciate the moodiness and rockiness of this track because it's a nice counterpoint to earlier upbeat, dance-oriented tracks. Bernard's voice has really impressed me throughout. He doesn't strain and sounds very confident.

Unlearn This Hatred 10/10 - Tom Rowlands elevates another track to perfection. This and Singularity are perfect. I want the next NO album to be entirely produced by Mr. Rowlands! He has the key to producing New Order while keeping the NO charm and making it current and relevant.

The Game 6/10 - Apparently this is another Stephen/Gillian composition (Arthur Baker interview). A bit of a rocker with a somewhat lame chorus. The chorus really kills the momentum of the song. And the Lindsay Buckingham-esque solo at the end doesn't do the song justice. The verses I quite like, though.

Superheated 3/10 - I really like this song until Mr. Flowers comes in and shits all over it. This song might be an 8 without him. Nah, just a 7. But I'd still much rather hear it sung by Bernard. Don't get me wrong. I actually like The Killers. But this is just WRONG in so many ways. This song makes me sad. But not in good/sad way like PCL does.


Overall, I'm highly impressed with this effort from New Order. I very much appreciated the return to the synthy-style NO. They sound absolutely fearless and confident throughout. I rarely missed Hooky's typical contribution. And that says a lot! I had to go back and remind myself just how important he was to New Order after listening to Music Complete 6 or 8 times. He carried the melody in soooo many beloved songs. But somehow (sorcery?), New Order made a great album without his presence. And Bernard has never sounded better vocally.



And the lyrics didn't make me cringe... except for once or twice. Which is astounding for a NO album. Um, "to deserts full of sand". Bernard will never be Neil Tennant or Morrissey. I've come to accept that. :)

Cheers,
Jim

Edited by user 26 September 2015 21:20:19(UTC)  | Reason: Not specified

I'm homophobic cause i don't like PSB? ha ha ha ha ha ha ha

YAWN !!!

A fan mentioned Steven and Gillian's " the grave", which sounds Jon Hammond/ Brian eno inspired but it is a decade ahead of them, so possibly Hammond or eno had heard the track. Regardless, stray dog is the most interesting track, and as I often attribute credit to Bernard for the 250 songs or so on my ever increasing playlists for these guys, I remind myself that they are collaborations. I like the darker style of stray dog and the synths seem to have an urgency . Bernard's poem is fine and well told by mr pop.


The Dance songs are jaunty and happy and probably well done all around compared to the myriad dance pop electronica bands out there, but I can't remember ever caring to listen to any but new order. I suspect Beyoncé or her peers don't do it as well. I do
expect more manic , more cutting edge , more futuristic guitar/ synth combo songs next time. Also Bernard sings the first verses , I believe , of superheated, and the other guy sounds fine , but he is a bit too slick or mainstream,like a Bruno Mars, much too polished, too trained, as is the girl with the French band. I like the get ready and sirens girl singers more for some reason, perhaps as those are albums with very memorable stellar songs , like , lo and behold, technique, brotherhood , and republic. MC is Refreshing vibrant, beautiful , and wonderful and it is an achievement of a lifetime for anyone else, just standard operating procedure for our stalwart heroes

Just a little background for you...

La Roux is not a French band. It is a British band that is essentially one person... Elly Jackson (with Ben Langmaid for the first album). She is best known for the awesome song Bulletproof from 2009.

The guy who sings the majority of Superheated is Brandon Flowers from The Killers. They are massively popular. They also happened to have taken their name from NO's Crystal video's fictional band.

Edited by user 26 September 2015 23:49:03(UTC)  | Reason: Not specified

I always thought their best known song was In For The Kill. It was certainly her/their breakthrough
hit. Anyway, I love the Skream remix, so this is as good an excuse as any to post it here. Love the big beats that come in around 4.09.

Yes, In for the Kill was a big hit in the UK. But Bulletproof was a bigger hit internationally.