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Waiting for the Sirens' Call

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Editors’ Notes

Over the years, many elements of New Order’s sound have remained the same — Peter Hook’s deeply twanging bass, the knowingly plaintive vocals of Bernard Sumner, the washes of guitar and synthesizer that do more than anything else to define the band sonically — and it’s so on Waiting for the Sirens’ Call. That is to say, the few who aren’t already converts to their Velvet Underground-meets-Giorgio Moroder sound-clash will be seduced by this modest tweak on the basics. Most others, though, should find their continued interest rewarded by another helping of Sumner’s droll, underrated lyrics; they might even be surprised by touches like the dancehall borrowings on “I Told You So.” The set doesn’t quite match 2001’s comeback Get Ready, but it fits nicely into this important group’s discography.

Customer Reviews

New Order stays current and modern with defribulators or Viagra...

Interpol. Franz Ferdinand. The Postal Service. The Killers. Radio 4. Without the obvious influence from the uncanny sounds of New Order, they could all have ended up backing up for the likes of Kenny G. and Spyro Gyra in Poughkeepsie. However, Since 1980, the British synth-pop quartet have been acting as a governor for the alternative/modern rock and Pop charts, releasing original but catchy hits like "Blue Monday", "Bizarre Love Triangle" and "True Faith" into the charts. Two-and-a-half decades removed, New Order remains amazingly vital, current and somewhat ballsy. That said, Its current offering pours out copious melodies, throbbing bass lines (the trademark sound from Bassist Peter Hook) and clever yet sincere vocals in thrilling new songs like "Krafty" and "Morning, Night and Day." Somehow, while their past is researched for two upcoming films about the band that spawned them, Joy Division, they continue to be "fashion foreword" and pertinent. This is pristine, unblemished AltPop: the usual perfect combination of great melodies, excellent chord progressions and sweeping atmospherics that you can drive, chill AND dance to. As the godfathers of  the Manchester scene of the late 80's to the early 90's, they can sit back and watch bands The Postal Service and The Doves attempt run to the drugstore for anti-depression tablets to cure the melancholic ennui they stole from them, or young upstarts The Bravery hi-jack their use of arpeggiated synthlines underneath a lead bass. As one of the UK's most hearty and prolific indie survivors they can certainly show their distant cousins from across the Atlantic, such as Talking Heads and Roxy Music, a few things about how to grow old gracefully while teaching to the emo-indie mob of Keane and Coldplay with tips into producing deep and sad pop music that you can bop around to. One noticeable thing about this release is as how it is new, yet familiar. It's like New Order's greatest hits but with brand new songs. The members may have all these different styles but they remember to play to their strengths - Peter Hook's bass is as quantized and drivingly melodic as ever (sounding particularly good after a tryst with Gwen Stefani's solo act).  Bernard Sumner still sings vapid yet cynical lyrics of love and life and money and somehow makes them all *mean* something. To make up for the loss of keyboardist, Gillian Anderson, member pro-tem Phil Cunningham sticks on some great little snippets of slide guitar. Steven Morris programs the clever beats without sounding dated, as shown on the Daft Punk-esque "Guilt  is a Useless Emotion". This is a different release. On 'Republic', they raided their back catalogue and songs rejected for 'Technique'. On 'Get Ready', they went all guitary and did it very well in attempt to pander to the post Rock/Rap genre that consumed America and the late 90's and early '00's, thanks to Mr. Durst.  With that in mind, this time they've decided to carefully give a nod to their harder roots, albeit with some trepidation. There are moments when you can hear them remember what Joy Division sounded like on the brooding 'Turn' and the quasi-rockabilly 'Working Overtime.'  On the opposite end of the anger spectrum, there are hints of primetime DancePop Cheddar New Order on the first single 'Krafty' and even a guest appearance by Scissor Sister vocalist Ana Matronic on 'Jet Stream.' In the end, respect should be given to New Order for their enduring tenacity but let's hope for more attempts for future recordings. Look for an upcoming LP support tour and an Anton Corbijn film dedicated to the memory of Joy Division which is currently being entitled "Touching From A Distance." However, 'Waiting for the Siren's Call' should only be at arms length from your CD player. 

So great ...

I've been disappointed that there hasn't been more New Order. I was immediately drawn to the "growing up" style of Republic. As I kept waiting for its followup, nothing arrived. Finally, almost a decade later, New Order regroups and resurfaces with the best album (in my opinion) in the history of the band (including Joy Division's short run with the great Ian Curtis). Thank you New Order. This new direction is elegant, purposeful and something I've been waiting to see for a long time. Please, please, continue to make great music that the rest of the industry will use as its model.


Formed: 1980 in Manchester, England

Genre: Alternative

Years Active: '80s, '90s, '00s, '10s

Rising from the ashes of the legendary British post-punk unit Joy Division, the enigmatic New Order triumphed over tragedy to emerge as one of the most influential and acclaimed bands of the 1980s; embracing the electronic textures and disco rhythms of the underground club culture many years in advance of its contemporaries, the group's pioneering fusion of new wave aesthetics and dance music successfully bridged the gap between the two worlds, creating a distinctively thoughtful and oblique brand...
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