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REVIEW OF NEW ORDER, OAKLAND 29APRIL05
Veteran UK alternative band New Order visited Oakland's Henry J Kaiser Arena last Friday in support of their latest album, "Waiting For The Siren's Call". Bernard Sumner, Peter Hook and Stephen Morris have been performing as New Order since 1980. The original lead singer of their previous band commited suicide on May 18th of that year. From late 1978 to early 1980, that band, Joy Division, and it's legendary lead singer and songwriter Ian Curtis developed an intense underground following for it's deceptively uplifting lyrics and musical approach. The deceptiveness was in the way that at first glance the music and words seemed gloomy; as grayed in industrial bleakness as the Manchester, England area where the four band members were from. But in reality, Curtis' painfully honest reportage of isolated despair served as a communal catharsis. Joy Division's was a new kind of post punk music, stripped down to minor key guitar rhythm, moaning bass melody, and a spare drum line that, all together, sounded as majesty from on high. A black-winged rescue that was desperately needed to carry fragile sensitivies away from the angry noise of loneliness to the calm trustworthy din of aloneness. As effectively empathetic as Curtis was, he must have required a sensitvity that had to have been dangerous to live with. When it became time to open up all over again to a new continent of people, Curtis' could not continue. At the dawn of Joy Division's first tour of the states, Curtis hanged himself, leaving bassist Hook, guitarist Sumner, and drummer Morris to carry on. They changed the band name to New Order and added Morris' girlfriend Gillian Gilbert. 25 years hence they have gone from reluctant innovative cult heroes, to reluctant icons of cross cultural dancefloor music, to old blokes at last comfortable in their reluctant shoes. Ian Curtis actually had a great sense of humor and would have loved to have been around to have a laugh at what his punk mates have turned into: A world famous dance band filling arenas from time to time with bright catchy techno standards. New Order has always continued to bounce off the edge of innovation from time to time, but these days there's more bounce than edge. Remnants of the formula remains; bassist Hook still carries the melody, now with the faithful wailing of a happy old dog. Barney Sumner can still be counted on for his rhythm guitar lines, less stinging than finger wagging but still adept as a counter -melodic compliment to Hook. And if you saw the movie about the story of the bands first record label, "24-Hour Party People", you know what is meant mean by Morris still happily giving the impression that he is drumming on the roof of the recording studio until someones runs up to tell him to stop, that the rest of band has gone home.
Veteran UK alternative band New Order visited Oakland's Henry J Kaiser Arena last Friday in support of their latest album, "Waiting For The Siren's Call". Bernard Sumner, Peter Hook and Stephen Morris have been performing as New Order since 1980. The original lead singer of their previous band commited suicide on May 18th of that year. From late 1978 to early 1980, that band, Joy Division, and it's legendary lead singer and songwriter Ian Curtis developed an intense underground following for it's deceptively uplifting lyrics and musical approach. The deceptiveness was in the way that at first glance the music and words seemed gloomy; as grayed in industrial bleakness as the Manchester, England area where the four band members were from. But in reality, Curtis' painfully honest reportage of isolated despair served as a communal catharsis. Joy Division's was a new kind of post punk music, stripped down to minor key guitar rhythm, moaning bass melody, and a spare drum line that, all together, sounded as majesty from on high. A black-winged rescue that was desperately needed to carry fragile sensitivies away from the angry noise of loneliness to the calm trustworthy din of aloneness. As effectively empathetic as Curtis was, he must have required a sensitvity that had to have been dangerous to live with. When it became time to open up all over again to a new continent of people, Curtis' could not continue. At the dawn of Joy Division's first tour of the states, Curtis hanged himself, leaving bassist Hook, guitarist Sumner, and drummer Morris to carry on. They changed the band name to New Order and added Morris' girlfriend Gillian Gilbert. 25 years hence they have gone from reluctant innovative cult heroes, to reluctant icons of cross cultural dancefloor music, to old blokes at last comfortable in their reluctant shoes. Ian Curtis actually had a great sense of humor and would have loved to have been around to have a laugh at what his punk mates have turned into: A world famous dance band filling arenas from time to time with bright catchy techno standards. New Order has always continued to bounce off the edge of innovation from time to time, but these days there's more bounce than edge. Remnants of the formula remains; bassist Hook still carries the melody, now with the faithful wailing of a happy old dog. Barney Sumner can still be counted on for his rhythm guitar lines, less stinging than finger wagging but still adept as a counter -melodic compliment to Hook. And if you saw the movie about the story of the bands first record label, "24-Hour Party People", you know what is meant mean by Morris still happily giving the impression that he is drumming on the roof of the recording studio until someones runs up to tell him to stop, that the rest of band has gone home.
When New Order played the HJK arena in 1985, they were just five years removed from the loss of Curtis. Three years before in 1982, they had released the best selling 12" single of all time, "Blue Monday", a groundbreaking electronica prototype classic typically sparse with biting, brief lyrics. The lyrical approach had become more about setting the example of one looking out for one's own emotional stability, especially because the relationship adversaries mentioned in their songs always seemed quite capable of their own self preservation. No longer would more than one cross be beared in the bands song lyrics. Also, New Order's music had been reflecting their interest in pushing the boundaries of synthsizers in a pop setting. However, they had also become very adept at constructing ornamental guitar masterpeices to go with the ahead of it's time electronica like the 1982 album "Power, Corruption, And Lies", and 1989's Technique.
The difference between the 2005 HJK show and the 1985 performance was the difference between a legendary innovative rock band too afraid of showing weakness to avoid masking
lingering insecurity with indifference then and a veteran post punk band only too happy and relieved to have the street cred to get away with embracing the past now. Any story about a New Order performance these days is more about catching up with old friends to see how they
are living their decades-long fame than it is about how good they were or were not. What was more moving to see on the stage Friday was the cranky yet good natured banter between Hooky and Barney, sort of similar to the semi-mock acerbic patter between Simon and Garfunkel during one of their recent re-union shows. Or finally embracing the idea of sharing with the concert-going long-time fans the pain of missing their mate Ian . It will be 25 years this May 18th. New Order have been performing more Joy Division songs than ever before these last few years and especially on this tour. It was notable that Sumner, who had taken over as lead singer, took the time to actually explain who Ian Curtis was, which seemed unusual for an alternative music scene that prides itself on not having to explain or have things explained. The reason was likely due to New Order having just made their first ever appearance on American TV the night before and feeling compelled to explain who Curtis was to a less initiated US talk show crowd. Another example of the years wearing down the punk posturing
was the morphing of Sumner's flowers-in-San Francisco obsession. In 1985 Sumner dryly intoned: "Hey San Francisco, where's your flowers...all withered." In 2005: "C'mon, San Francisco, sing along..."If you're going to San Francisco..." Mockery still but decidedly more engaging and good natured. All-in-all, there was the sense of an old band kind of resting on it's laurels at HJK; the music performances were more loose and New Order just seemed content with having a place to be doing what they like, leaving all the hard work of the tour to opening act the Chemical Brothers, electronica-djs whose innovations with dancefloor beats and creative audio-collage techno experimental rhythms were definitely inspired by the ground work laid by New Order. Though they've been around for a while themselves, more of the future belongs to the Chemical Brothers than New Order, who put so much more energy in their history, playing Joy Division and early New Order songs and not very much from the new album "Waiting For The Siren's Call". Also ignored (he was not introduced) was new member Phil Cunningham, on board to replace Gillian Gilbert, who quit to spend more time with her and Morris' children.
At this point, New Order have done most of what could be asked. With a legacy of genre shaping music, they have help fans weather the storms over the years and spent the last few weathering their own. Now all that remains is for them to make like most longtime music acts with proven legacies: Just keep having fun occassionally reminding every one they're still around, waiting for the Rock-and-Roll Hall-of-Fame rocking chairs.
William W. Smith
When New Order played the HJK arena in 1985, they were just five years removed from the loss of Curtis. Three years before in 1982, they had released the best selling 12" single of all time, "Blue Monday", a groundbreaking electronica prototype classic typically sparse with biting, brief lyrics. The lyrical approach had become more about setting the example of one looking out for one's own emotional stability, especially because the relationship adversaries mentioned in their songs always seemed quite capable of their own self preservation. No longer would more than one cross be beared in the bands song lyrics. Also, New Order's music had been reflecting their interest in pushing the boundaries of synthsizers in a pop setting. However, they had also become very adept at constructing ornamental guitar masterpeices to go with the ahead of it's time electronica like the 1982 album "Power, Corruption, And Lies", and 1989's Technique.
The difference between the 2005 HJK show and the 1985 performance was the difference between a legendary innovative rock band too afraid of showing weakness to avoid masking
lingering insecurity with indifference then and a veteran post punk band only too happy and relieved to have the street cred to get away with embracing the past now. Any story about a New Order performance these days is more about catching up with old friends to see how they
are living their decades-long fame than it is about how good they were or were not. What was more moving to see on the stage Friday was the cranky yet good natured banter between Hooky and Barney, sort of similar to the semi-mock acerbic patter between Simon and Garfunkel during one of their recent re-union shows. Or finally embracing the idea of sharing with the concert-going long-time fans the pain of missing their mate Ian . It will be 25 years this May 18th. New Order have been performing more Joy Division songs than ever before these last few years and especially on this tour. It was notable that Sumner, who had taken over as lead singer, took the time to actually explain who Ian Curtis was, which seemed unusual for an alternative music scene that prides itself on not having to explain or have things explained. The reason was likely due to New Order having just made their first ever appearance on American TV the night before and feeling compelled to explain who Curtis was to a less initiated US talk show crowd. Another example of the years wearing down the punk posturing
was the morphing of Sumner's flowers-in-San Francisco obsession. In 1985 Sumner dryly intoned: "Hey San Francisco, where's your flowers...all withered." In 2005: "C'mon, San Francisco, sing along..."If you're going to San Francisco..." Mockery still but decidedly more engaging and good natured. All-in-all, there was the sense of an old band kind of resting on it's laurels at HJK; the music performances were more loose and New Order just seemed content with having a place to be doing what they like, leaving all the hard work of the tour to opening act the Chemical Brothers, electronica-djs whose innovations with dancefloor beats and creative audio-collage techno experimental rhythms were definitely inspired by the ground work laid by New Order. Though they've been around for a while themselves, more of the future belongs to the Chemical Brothers than New Order, who put so much more energy in their history, playing Joy Division and early New Order songs and not very much from the new album "Waiting For The Siren's Call". Also ignored (he was not introduced) was new member Phil Cunningham, on board to replace Gillian Gilbert, who quit to spend more time with her and Morris' children.
At this point, New Order have done most of what could be asked. With a legacy of genre shaping music, they have help fans weather the storms over the years and spent the last few weathering their own. Now all that remains is for them to make like most longtime music acts with proven legacies: Just keep having fun occassionally reminding every one they're still around, waiting for the Rock-and-Roll Hall-of-Fame rocking chairs.
William W. Smith
From the NewOrderOnline archive.
Thanks to: William W. Smith
