US Reviews -- cut and paste'em here!

Stuff Magazine: ( * * * )

The skinny: Manchester, England's finest return with a great dancey rock album. Or is it a great rocky dance album? Either way, it's a blend of electronic and organic sounds that bubble in spirited showers of emotion. Like Irish Spring.

You'll like this album if you like: Smashing Pumpkins, Interpol, Joy Division, tea

Standout tracks: "Hey Now What You Doing," "Krafty," "Guilt is a Useless Emotion"

What would Manchester native Morrissey say? "I don't want people to think of New Order when they think of the dour, rainy, sad, impoverished, broken town of Manchester. I want them to think of me."

Tantalizing tidbit: The collective age of the members of New Order is somewhere between 190 and 4,000 years. See if you can guess which end of the spectrum they fall on!

Allmusic.com (***) Though it sounds like a (*) review

When New Order returned in 2001 with their first new record in eight years, the album they created (Get Ready) was given a great deal of leeway by fans (if not critics). Was it original? Not very. Although the band never recycled a riff, many of the songs recalled not just the band's salad days, but often specific performances from '80s touchstones Brotherhood or Low-Life. What saved Get Ready from irrelevance was a brace of great songs, a new look at the band as capable rockers, and what's more, that uncanny ability to produce timeless, ever-fresh recordings. Almost as surprising as that comeback record was its quick follow-up, Waiting for the Sirens' Call, which followed two-and-a-half years later. If New Order's ambition was only to reinforce themselves in their fans' imaginations as members of a working band (à la their contemporaries Echo & the Bunnymen or even Duran Duran, for that matter), then the album is a success. Unfortunately, however, the adjectives that need to be attached to this record -- workmanlike, customary, unembarrassing -- aren't going to make music fans flood the record stores seeking copies. Unaccustomed to needing another album's worth of material so soon, Bernard Sumner quickly showed the effects of writing drought, returning to old musical themes he'd visited (and revisited) before, and writing lyrics that make their 1993 single "Regret" a career classic in comparison. Titling a dramatic rocker "Dracula's Castle" may be perfectly acceptable, but then making explicit mention of that metaphor within a set of clumsy lyrics ("You came in the night and took my heart/ to Dracula's castle, in the dark") is taking the easy way out, to say the least. The first single "Krafty" relies on making the band's ties to Kraftwerk obvious, but while the German motorische experts manufactured cleverly simplistic productions, they never reached the rudimentary levels of this single. (And they surely knew better than making it sound like they meant it, as Sumner does, with the awful rhyme "But the world is a wonderful place/ with mountains, lakes and the human race.") Even the mainstream dance tracks, "Jetstream" and "Guilt Is a Useless Emotion" evince a cold heartlessness that the band never strayed into during the '80s. If New Order continues making albums every three years instead of every decade, critics will quickly begin to strain for new ways to describe Peter Hook's plangent bass work or Sumner's half-bemused, half-baffled songwriting and vocal delivery. Still, that's nothing compared to what New Order might be reduced to recycling.

The lowest rating they've given any NO album since Movement! Get Ready got (****) Blekch! :barf:

Entertainment Weekly (Time Warner Publication):

On their past few albums, especially 2001's rock-infused Get Ready, New Order showed us that they were a band eager to evolve. Now they're ready to undo all that evolution, making a satisfying return to the Blue Monday sound of their heyday. As Waiting for the Sirens' Call proves, the pioneering newwavers' intricate mix of driving keyboards, I'm-going-to-slit-my-wrists-now! lyrics (their eighth studio album boasts such future Xanax-withdrawal mottoes as 'I took my heart to Dracula's castle in the dark'), and airy vocals (Scissor Sisters' Ana Matronica lends an assist on 'Jetstream') still feels novel — even downright fresh — 25 years later. The perfect soundtrack to a nihilistic day. Grade: B+

D.X. Ferris in Cleveland Scene:

Only two of New Order's three signature elements are present on Waiting for the Sirens' Call -- Bernard Sumner's airy voice and Peter Hook's springy bass -- and that's not enough to keep the magic going. The Manchester legends have joined R.E.M. on the growing list of '80s icons who have declined from revolutionary rock to easy listening.

Hyped as a "guitar album," the band's eighth LP suffers greatly from the departure of keyboardist Gillian Gilbert, who was also absent from 2001's well-received Get Ready and has now formally departed, leaving the programming, samples, and keyboards uninspired and anemic. Even a hired-gun remix of the spacey dance duet "Guilt Is a Useless Emotion" is rote, at best, and the somewhat baffling "Krafty" finds the band dabbling in reggae. New Order now sounds more like Ace of Base than it does the band that wrote the book on electronic music.

(****) Rollingstone.com

Rolling Stone Review

New Order have nothing to regret. If they'd broken up when Ian Curtis died, they'd still be remembered as Joy Division. If they'd broken up after the 1982 single "Temptation," they'd be remembered for the most achingly emotional seven-and-a-half-minute New Wave disco twelve-inch of all time. If they'd broken up after Low-life, in 1985, they'd be remembered for the most influential electro-vampire post-punk limp-wristed goth-twit album of the Eighties. But they didn't break up. They just keep making brilliant new records and inspiring brilliant new bands, such as the Killers, Bloc Party and Interpol. They took a break in the 1990s, cleansing their systems of toxic chemicals and even fuglier side projects. (Revenge? Electronic? Monaco? Jesus!) If their 2001 Get Ready was a toe-dip return, Waiting for the Sirens' Call is their best since Technique, taking the "Blue Monday" beat into new wacked-out realms.

Bernard Sumner still sings and strums with his boyish air of distractable pique, and he writes some of the most genius crap lyrics around ("The world is a beautiful place/With mountains, lakes and the human race"). His secret is his sincerity, the way he whoops and yelps through blood-curdling poetry that a more clever singer would shame himself trying to play straight. But he'd be nowhere without Peter Hook, the Keith Richards of the bass, and drummer/pinup boy Stephen Morris. They outdo themselves with the sleek pop uplift of "Krafty," the robot clank of "I Told You So," the moody shimmer of "Turn" and the towering title track. Every song is great, except the one called "Dracula's Castle." What more could a fan ask?

ROB SHEFFIELD (Posted May 05, 2005)

Sounds like the best review so far today.

Keep an eye on Metacritic as most of these reviews will be linked from there, plus plenty more:

Metacritic Sirens

:\pimp3:

Washington Post (April 27):

WAITING FOR THE SIRENS' CALL

New Order

New Order's eighth album finds the group of postpunk legends careening down the comeback trail: If on 2001's "Get Ready" the band aimed to rock (albeit with an assist from Billy Corgan), this time out it actually hit the target.

And no assistance from Corgan is required, either. Instead, a handful of the disc's ditties sound as though the group -- which rose from the ashes of Joy Division way back in 1980 -- has been spending quality time with the back catalogue of Blue Oyster Cult.

That makes New Order's newest the better album by far, and perhaps its best since 1986's fan-cherished "Brotherhood." The tracks "Hey Now What You Doing" and "Who's Joe?" come decked out with tossed-off riffs that would never have crossed frontman Bernard Sumner's mind -- much less his fretboard -- back when his group cranked out gloomy, synth-drenched classics such as "Power, Corruption & Lies." Indeed, the new album's foot-stomping set closer, "Working Overtime," even features the kind of fuzzed-out guitar work that Jack White is making a career of.

That said, New Order has hardly forgotten its roots. From the title on down, "Krafty" pays tuneful homage to seminal synth-rockers Kraftwerk, one of the band's primary influences. And the disc's booty-shaking centerpiece, "Dracula's Castle," rides on the same percolating dance-club beats that powered "Blue Monday," the group's huge '80s-era hit.

On its latest, then, New Order serves up the best of both worlds. And for a band of nearing-fifty-somethings, that bodes well for the future.

-- Shannon Zimmerman

Whatwas gloomy about PCL? Do these cloth-erared cretins even own the fuggin records they refer to?

"Oh, our love/is like the flowers" -- very gloomy.

Yeah, check out metacritic.com for a bucketload of reviews...and the startling revelation that the album was produced by Tore Johansson, the guy who did the Franz Ferdinand record.

Seriously Spotnick, you have the promo: were the songs mislabled? "Dracula's Castle" sure ain't dub, and "Krafty" isn't reggae ...sounds like "I Told You So" to me.

Tore Johansson produced the London quartet with an assist from Ana Matronica.

P.S. Thanks Washington Post for reminding us that No "rose from the ashes" of Joy Division.

Hank Wiseass© wrote: Whatwas gloomy about PCL? Do these cloth-erared cretins even own the fuggin records they refer to?

AOC is certainly not gloomy, nor most of 586, nor even LMA, but would it be so wrong to describe We All Stand, say, as gloomy, Hank?

Patrick wrote: AOC is certainly not gloomy, nor most of 586 ...

Which particular part of 586 makes you gloomy Patsy?

"I hear silence in my heart"

Or something in the music?

:\pimp3:

depthcharge wrote:

Patrick wrote: AOC is certainly not gloomy, nor most of 586 ...

Which particular part of 586 makes you gloomy Patsy?

"I hear silence in my heart"

Or something in the music?

:\pimp3:

The intro, DC.

Patrick wrote: If on 2001's "Get Ready" the band aimed to rock (albeit with an assist from Billy Corgan), this time out it actually hit the target.

And no assistance from Corgan is required, either...

Who on earth is Billy Corgan? He provided backing vocals for one track on Get Ready and he's credited with the album's ability to rock! Also work under the name Primal Scream, does he?

Patrick wrote: Instead, a handful of the disc's ditties sound as though the group -- which rose from the ashes of Joy Division way back in 1980 -- has been spending quality time with the back catalogue of Blue Oyster Cult. -- Shannon Zimmerman

I don't know anything about the Blue Oyster Cult, but somethine tells me that they are American.

Patrick wrote: even features the kind of fuzzed-out guitar work that Jack White is making a career of.

Jack bloody White? Is he another one of New Order's influences then?

The rest of the review is standard non-music paper fodder. I suspect that these people sit and type as they listen to the album for the first time. As soon as they hit the required number of column inches, the review is automatically filed and the computer loads up the next cd for review.

Why not leave cd reviews for someone that actually knows something about music? Rather than getting the staff gardening writer to rattle off a few reviews on a Tuesday night, why not syndicate the reviews from proper music papers? Or leave the subject to the experts?

I'm in a foul mood today - sorry.

http://www.metronews.ca/entertainment_cd_review.asp?id=7878

http://www.dailycardinal.com/news/2005/04/26/Arts/No.waiting.Required.For.New.Order.Newest-941175.shtml

University of Wisconsin

The Daily Cardinal - Arts Issue: 4/26/05

No 'Waiting' required for New Order newest By D.J. Pangburn/The Daily Cardinal

New Order's Waiting for the Sirens' Call might be one of the most eagerly anticipated albums in recent memory. On one hand, the old fans hoped the group could rediscover their electronica roots, while indie hipsters looked for the source of a new wave revival. The former will likely be pleased, while the latter will discover that New Order is less accessible than most neo-New Wavers.

The band makes liberal use of a chiming bell noise-most likely a treated guitar effect-to signify "We're back, don't worry" to a generation of MTV-indoctrinated masses, tired of the facile, recycled crap on the radio and television. Indeed, New Order returned not a moment too soon-surely, somewhere, Ian Curtis is smiling down upon New Order.

The opening track, "Who's Joe?" begins in typical New Order fashion-ambient synth pads abound with futuristic sound effects and what sounds like a space-aged bell. The swirling synthesizers crescendo under an arpeggiated rhythm until the divine hands of Stephen Morris propel the song forward with a snare roll.

Sirens' wisely channels many of New Order's best musical moments and updates them for the 21st Century. While New Order no longer writes the epic dance tracks characteristic of their previous albums, they still write easily danceable tunes.

The title track calls to mind the band's sound between 1979 and 1981, both as Joy Division and as New Order, particularly in Stephen Morris' drum work, Pete Hook's bass lines and the late '70s-inspired analog synth pads. "Krafty," the album's first single, is musically upbeat but conveys themes of loss and redemption, albeit with the occasional cringe-inducing lyrics such as "But out there the world is a beautiful place / With mountains, lakes and the human race." No other songwriter can get away with so much lyrically; it is a credit to Bernard Sumner's limitless passion.

After "Krafty," the songs are geared more toward the dance floor. "Morning Night and Day," is a delightful collage of synthesizers that recalls New Order's best work. However, the delayed and fuzzed-out guitars seem out of place, and the chorus is rather weak and poppy. Still, Hook's smooth lead bass saves even the weakest moments of the song.

"Dracula's Castle" is probably the most ridiculous title ever from a serious band, and the embarrassment is amplified when Sumner uses the title as a lyric. Again, the synthesizers and Hook's bass work save the song. But then again, Hook is a genius of rhythm and melody-this is expected.

The Scissor Sisters' Ana Matronic shows up on "Jetstream," and the dueling male/female vocals are fantastic. This is one of the two tracks on the album that really does not sound like New Order, but the pure sing-a-long nature of the chorus is irresistible. It is all quite ridiculous, but exciting nonetheless.

"Turn" is a bass-driven New Wave song in the tradition of Technique and Republic. Synthesizers sparsely populate the song, giving it the typical New Order majestic swirl, characteristic of songs like "All the Way" and "Love Less."

With many reservations, Waiting for the Sirens' Call might be considered among New Order's best work. The first few listens are difficult because of the heavily produced nature, when a return to epic dance-pop was widely anticipated.

On Waiting for the Sirens' Call, the band has moved beyond the extended dance tracks of yesteryear to incorporate nearly every sound they pioneered under the names Joy Division and New Order.

Nevertheless, Waiting for the Sirens' Call is exceedingly danceable and catchy. With everyone from the Killers and The Bravery championing in a so-called 'Nu-Wave' movement, New Order's stock has risen exponentially, and the album is sure to move a few copies. Unlike the aforementioned bands, New Order has once again proven their relevance, and their sincerity remains unchallenged.

Spotnick wrote: I see Patrick subscribed to Google alerts... I can't scoop anymore..

No actually I didn't; I just did a news search!

It has been suggested by several observers that the bell references in the Daily Cardinal review may suggest a familiarity with the Odyssey theory here.

Patrick wrote: It has been suggested by several observers that the bell references in the Daily Cardinal review may suggest a familiarity with the Odyssey theory here.

What is D.J. Pangburn's NOOL username?

I don't know anything about the Blue Oyster Cult, but somethine tells me that they are American.

Much like BOC, New Order could use more cow bell in their music, IMHO.

"You'd figure if Depeche Mode somehow found a way to target new masses, then New Order should be able to broaden its reach too, right? Sadly, this disc won't do it for them."

What a stupid review, and this is the gem: when did Depeche Mode target new masses when all they've done in the last seven years is losing even some of their hardcore fans with the enormously disappointing Exciter? Ultra was great but won no new fans and the 1998 tour was a triumph because of the hits. New Order are much more relevant by comparison.

Spotnick wrote: New Order CD New Order Waiting For The Sirens' Call London/Warner ** (out of five)

Weren't these the same Manchester blokes who set club floors alight with the likes of Blue Monday and Bizarre Love Triangle in the late 1980s?

You'd figure if Depeche Mode somehow found a way to target new masses, then New Order should be able to broaden its reach too, right? Sadly, this disc won't do it for them.

Maybe it's because of all the hype over the new dance-rock kids on the block Franz Ferdinand and the Killers, but Bernard Sumner's Joy Division/Morrissey/Simon Le Bon vocal stylings come off as uninspired, while the mundane Hey Now What You Doing, Krafty and the Big Country lite of Dracula's Castle just don't make one's derriere want to shake its thang.

This from a group who once dubbed an album called Substance ... go figure.

ian nathanson/metro toronto

ian.nathanson@metronews.ca

Simply amazing. Rather than give any sort of meaninful insight into his displeasure with the album, he makes some quick comparisons to other bands and then gripes that a song such as Dracula's Castle doesn't make his fanny move. Real class. Dracula's Castle doens't exactly come accross as a big dance tune now does it? He takes a quick jab at the material with barely a mention of things that might make you believe he took time to listen to it in the first place.

Talk about lacking substance... go figure.

It's obvious they think that this is ther official site, and also that the band must have a direct involvement in it...

WFTSC is ALBUM OF THE WEEK on Treble:

http://www.treblezine.com/viewer.cgi?id=589&type=r

NorthJersey.com

MUSIC
High-energy mix with peak Order

Friday, April 29, 2005

POP & ROCK

New Order, "Waiting for the Sirens' Call" (Warner Bros.) ****

With its trademark blend of guitar-driven post-punk and synth-driven dance music in full bloom, New Order's second album since its late-'90s re-formation is thoroughly satisfying, hitting the peaks of the group's finest work.

"Sirens' Call" begins with guitarist-vocalist Bernard Sumner's brash, incisive guitar work center stage on "Who's Joe" and "Hey Now What You Doing." Electronic textures become more prominent on "Krafty," which, yes, sounds a little like Kraftwerk, and "Morning Night and Day," a cautionary tale about the effects of 24-hour partying, something New Order did a lot of back in the day.

The hard-rocking "Working Overtime," with Stephen Morris drumming at full throttle, sounds like the Who crossed with the Stooges, closing out this inspired, superbly crafted album with a healthy shot of adrenaline.

• Martin Bandyke, The Detroit Free Press

People Magazine Chuck Arnold 3 out of 4

"Moby covers a New Order song on his latest; the group's Bernard Sumner and Peter Hook collaborated on Gwen Stefani's solo CD; and a slew of neo-new wave bands have drawn inspiration from the synth-pop pioneers (the Killers even took their name from a New Order video). So the timing couldn't be better for the return of New Order, whose sound is all of a sudden, well, new again. While nothing here will make you forget 'Blue Monday,' 'Bizarre Love Triangle' or 'True Faith,' cuts like the pulsating 'Morning Night and Day' and the jangle-rocker 'Turn' wil call those who haven't boogied since the '80s back to the dance floor."

4/29/05 - The Boston Globe

New Order WAITING FOR THE SIRENS' CALL Warner Bros. For some reason, the name New Order is hardly brought up when talking about the great bands of the '80s and early '90s. If it is, it's done grudgingly. But from the days of their early, more corrosive sound to their fabulous dance-rock heyday where they set the blueprint for so many of today's acts, New Order was an essential group. After a few comeback discs that paled by comparison with their best work, they return with a glorious set of songs that evokes the classic New Order brand without making them seem like aging rockers trying to recapture past glory. All the essential ingredients are in place, from the clash of electronic and organic elements to Bernard Sumner's plaintive vocals to Peter Hook's grandly ringing bass to a deft sense of irony and kitsch. Most striking is the sheer dance-floor throwback, 'Guilt Is a Useless Emotion" -- a rush of candy-coated fluff that a band like the Bravery would simply kill for. Wait until this gets remixed and burns down the clubs. 'Jetstream" flies by appropriately in a whoosh of sonics augmented by Scissor Sister Ana Matronic (call it paying respects to an obvious influence) while 'Working Overtime" is a stripped-down, guitar-driven gem that recalls the band's very early years. The 12-song set is produced by the band with five different producers including Stephen Street, but it clearly is made with one cohesive vision. Fans of New Order should rejoice -- and anyone who is going gaga over the flock of buzz bands making waves these days will find a fresh reminder of just who did it first. KEN CAPOBIANCO

© Copyright 2005 Globe Newspaper Company.

I don't get a review I read in the Sunday Toronto Sun. They gave the album 3 stars, then said it was a horrible disappointment and their work on Gwen Stefani's "the real thing" was better. (they also called get ready a disappointment) Then they did a track aby track review and seemed to like every song except Who's Joe and I Told You So.

What were they expecting from New Order? The Dark Side of the Moon? Thriller? Nevermind?

If I see it online I will cut and paste it. Maybe they took so long to write the review that they started to like it halfway through.

That stupid woman always gives dumb reviews. Did she like it or not?

Jackson Withrow wrote: I don't get a review I read in the Sunday Toronto Sun. They gave the album 3 stars, then said it was a horrible disappointment and their work on Gwen Stefani's "the real thing" was better. (they also called get ready a disappointment) Then they did a track aby track review and seemed to like every song except Who's Joe and I Told You So.

What were they expecting from New Order? The Dark Side of the Moon? Thriller? Nevermind?

If I see it online I will cut and paste it. Maybe they took so long to write the review that they started to like it halfway through.

Clearly a review of a guy that doesnt know the last 25 years of music. Throw away the paper and cancel the signature.

I used to love to read rock critics....I dont anymore- they just seem so stupid. None of them seem informed at all...theyre just reading some cheezy short bio before writing the reviews.

Does anyone remember RollingStone's double review of PC&L and BlueMonday? Then years later, thier review of Republic? That was worth reading....they were actually intelligent and insightful enough to know what was going on when they heard the music.

we should be avoiding this current shit....

I know, I'm reading it all, too.

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Jackson Withrow wrote: I don't get a review I read in the Sunday Toronto Sun. They gave the album 3 stars, then said it was a horrible disappointment and their work on Gwen Stefani's "the real thing" was better. (they also called get ready a disappointment) Then they did a track aby track review and seemed to like every song except Who's Joe and I Told You So.

What were they expecting from New Order? The Dark Side of the Moon? Thriller? Nevermind?

If I see it online I will cut and paste it. Maybe they took so long to write the review that they started to like it halfway through.

Clearly a review of a guy that doesnt know the last 25 years of music. Throw away the paper and cancel the signature.

Their sports section is worth the money alone. Seriously, it's like 10 pages long.

From today's New York Post

New Order "Waiting for the Sirens' Call" Warner Brothers

Even if you hate New Order because of its gloomy words and annoyingly devoted fans, there's never been any call to deny the band praise for its musicianship and songwriting. That's still true on this follow-up to the Manchester band's 2001 studio offering, "Get Ready." Here the group remains expert in cross-pollinating bare-bones rock with dance music. It's a near-perfect combination, and the rock foundation eliminates the repetitiousness of dance music.

Where Joy Division and older New Order were slowed with melancholy and mope, the band is so bright and upbeat on this record that it sounds like a great concert encore set. This is a disc that demands good speakers, volume and space to shake.

======================================= And found this article in a hard copy format Here's the text...

IN PERFECT ORDER

By MARY HUHN

May 1, 2005 -- Twenty-five years ago on May 18, Joy Division's Ian Curtis, whose voice penetrated dark-hearted souls with "Love Will Tear Us Apart," hanged himself.

And New Order was born.

Formed by Joy Division members still reeling from the death of their friend, the Mancunian band distinguished itself from the gloom-and-doom style of their former selves by having a party on the dance floor.

Now, for the first time in a quarter century, the group will sing a handful of Joy Division tunes while on tour, including "Atmosphere" and "She's Lost Control," as a tribute to Curtis.

"We never played them before," says frontman Bernard Sumner. "We felt if we were going to make New Order work, we'd have to do it under our own steam. Also we felt too upset to play them back then.

"It feels right to play them now," he adds.

Influenced by synth pioneers such as Kraftwerk and Suicide, New Order broke through in 1983 with the spectacular "Power, Corruption & Lies," which featured the best-selling 12-inch of all time, "Blue Monday."

With the lure of Sumner's melancholy vocals, New Order was a nonstop dance machine through out the '80s, living the "24 Hour Party People" life.

And it almost killed them.

"It really f---ed me up," Sumner told The Post, admitting, "We'd play a show and set up a disco party backstage - with strobe lights and a smoke machine. Then we'd go to clubs all night and then back to the hotel room to party. Before you know it, it's 7 in the morning."

Of course it took its toll. "We began behaving badly toward friends and making bad decisions," says Sumner, whose poison of choice was Pernod and orange juice.

But in 1992, it all caught up with him. On a 30-city-tour stop in Chicago, Sumner started throwing up for hours.

He dragged himself from his hotel room to the hospital on the corner. Turns out the constant drinking had scarred his stomach.

"It was stupid. I thought, 'If I carry on like this I'll end up dead or an alcoholic. I'm killing myself for Factory Records. I'm killing myself for the nightclub. I'm killing myself for a bar.'"

He decided not to kill himself for anything.

The band released only one album in the '90s (1993's "Republic") and while it never officially broke up, they didn't record an album for eight years.

Almost 49, Sumner says he's now more responsible (with a wife and three kids) and won't tackle such a grueling tour schedule again.

The band is on the road to support its latest disc, "Waiting For the Siren's Call." The five-city, abbreviated American tour kicks off in Coachella this weekend and hits New York's Hammerstein Ballroom on Thursday.

The band is as popular as ever. There are two films being made about Ian Curtis. Dozens of today's bands count New Order as an influence. Among all the '80s retro acts, Sumner likes the Killers the best. "They have nice suits," he says.

While New Order is respected and admired all over the world, Sumner still has some trepidation about performing - and yearns for more rehearsal time.

But don't fret.

"I'm sure it will fall into place," he says.

===========================================

Thought it was 1989 where Barney's stomach turned to shite

Anyways, 0000 hours, lights out, long drive ahead of me...See all of you Chicago Order fans at the Green Mill, ~4:00-4:30. Goodnight, and see you there

what's so bad about 'but out there the world is a beautiful place/ with mountains,lakes and the human race'?

It's a perfectly good rhyme you stupid, stupid dolts. I swear most journalists just regurgitate what they read some other journalist write. How else could so many writers come up with the 'rose from the ashes' (groan) metaphor.

I'm not being biased as a fan. Most of the bad reviews are so poorly written they might as well have been cut and pasted from amazon.com. That Entertainment Weekly review is hands-down the dumbest one yet, even though it was positive. Were they even listening to the right cd?

As far as I know the only real requirement to write copy is a BA. In anything. If that. It's sad to think that people think what they read in magazines and newspapers are written by experts.

Some of the dumbest reviews are the ones where sassy magazine writers over-use obscure pop culture references and similes to the album they are reviewing. They do it to the point where you have no idea whether they liked the album or not, or even what they are talking about. They generally read like

New Order- Waiting for the Siren's Call

Veteren brit-goth-electro act return to the gallows once again with an effort that would make Julia Child scream "Where's the fire?!". Not to be outdone, we heard the manchester scene topped out when Noel Gallagher spun out on the White Striped faster than Ernie Els at an acid house. ***

Okay, it is a little sarcastic but I they can be very confusing, you really do wonder if they listen to the albums at all.

Landon Bradley wrote: what's so bad about 'but out there the world is a beautiful place/ with mountains,lakes and the human race'?

*Yeah, what's so bad?! I mean, I thought it was crap at first too, but then I just realised it's a good optimistic rhyme in the life affirming mood of this uplifting anthem to love, so nothing bad really. Maybe the only bad thing is quite a lot of other songwriters would have killed to write it?!

Baltimore Sun:

New Order Waiting for the Sirens' Call (Warner Bros.) **** (out of ****)

With its trademark blend of guitar-driven post-punk and synth-driven dance music in full bloom, New Order's second album since its late-'90s re-formation is thoroughly satisfying, hitting the peaks of the group's finest work.

Guitarist-vocalist Bernard Sumner, bassist Peter Hook and drummer Stephen Morris were members of Joy Division, the gloomy, powerful band from Manchester, England, led by vocalist Ian Curtis. They morphed into New Order in the wake of Curtis' 1980 suicide and hit big with 1983's "Blue Monday," still the best-selling 12-inch single of all time. The group had an acrimonious breakup in 1993, but reassembled five years ago for some well-received live shows, releasing the decent comeback Get Ready in 2001.

Maxim Blender ***

New Order Waiting for the Sirens’ Call

(Reprise) Release Date: 4/26/2005

Eighth album from the Manchester dance-rock heroes Reviewed by Dorian Lynskey

Despite their remarkable legacy—1983’s “Blue Monday” stayed in the U.K. Top 200 for five years—New Order have always shrugged off the weight of expectation. Their best songs sound like they’re hardly trying, while their worst suggest they’re not trying at all. Waiting (their first album without keyboardist Gillian Gilbert) zigzags between immensely beautiful and crushingly ordinary with disorienting regularity. How could the same people be responsible for both the yearning, wondrous “Turn” and the calamitous dance-pop of “Guilt Is a Useless Emotion”? How come nobody told Bernard Sumner that lyrics like “Real love can’t be sold/It’s another color than gold” needed more work? Yet the old magic remains: When New Order are on form, they’re transcendent.

One of the best reviews so far, though I don't agree with everything is well written and funny, this Dorian chap has some talent at least...

Mick Aneworderfan wrote: One of the best reviews so far, though I don't agree with everything is well written and funny, this Dorian chap has some talent at least...

I've been waiting to see the Blender review. It is the one magazine that I feel (not always) has good reviews.

Yeah,that's true.Power,Corruption & Lies is excellent.Only We All Stand is heavy going.But what with 586,The Village,Ecstasy on there,some of there best output.I remember reading onetime when NO did an interview with a known British music paper,and the novice asked if they thought LOWLIFE was a more optimistic album,than the "pesssimistic" PCL. "What makes you say that?" to which the novice interviewer replied,"Oh I don't know,a friend asked me to say it!". and as myth suggests,NO had his moped suspend up on a winch!!!

I love the "we all stand" on the peel sessions...

anyboby seen any gig reviews yet. please post them.