Wednesday, 20 September 2017
It seems to me that at some point around the turn of the millennium Bjork lost the sense of fun that characterised her 90s solo work. Debut and Post were informed by dance music and possibility, inventive and arty at the same time, but full of life and with a pop sensibility. She has continued to make art but the artier its become, the more multimedia the packages, the more difficult I've found it to engage with and enjoy. Often very impressive but not always that much fun. Her last album was a traumatic divorce record. I understand why she made it but I haven't played it very often. She's just released a new song called The Gate, the first from a new album, and it is about rebirth, hope, moving forward, a utopia compared the the self described 'hell' of Vulnicura. The video is dazzling, a bit hippy-dippy, but dazzling. The song is over six minutes long and while it never quite leaps forward and takes off like I expected it to the first time I heard it, it sounds a step into the light and part of an album that might be fun to listen to.
And as a reminder of what she gave us back in 1993 here's Come To Me, a song about the giddiness of falling in love and absolute devotion, set to a some softly padding drums, a haze of synths and sounds, and strings that sweep in to set your skin ablaze.
Come To Me
Tuesday, 19 September 2017
I don't know about prequels- the three Star Wars prequels are the biggest waste of celluloid time I can of. Clones. Tax dispute. Jar Jar Binks. Overactive and unconvincing CGI. Ewan McGregor's accent. Yawn.
Rich Lane and his Cotton Dubs on the other hand are always worth keeping an eye on. In the middle of August he released a three track ep featuring Prequels and City of Culture. Prequels is a slow motion, chug affair with a robot voice. It is not a million miles from the Code 61 Belgian New Beat track I posted recently. City Of Culture is top quality electronic dub reggae. The current City of Culture is Hull- I don't know if this is a tribute to Hull or not (Rich is from Wolverhampton which has never been City of Culture). The third track is a dub of the Prequels. You can buy all three for a measly £2.50 from Bandcamp.
Monday, 18 September 2017
Monday begins with an hour from Andrew Weatherall's Rotter's Golf Club Archive Hour, Volume 9 being sixty minutes of weird, wired and frazzled psyche-rock, kraut-rock, post-punk and jazz. I don't know if this is the ideal way to start of the working week but it's all I've got right now.
Holy Mountain – Clouds Over Earthquake
World Of Rubber – Zero
Moebius & Plank - Pick The Rubber
The Gutter Twins – The Body
Baron Mordant – You Are A Door
Paul Haig & Billy Mackenzie – Listen To Me
The Bounty Hunters – Twining Park
The Tenderhooks – It Comes And Goes
Mighty Ballistic Hi-Power – Springheel Jack
Giant Paw – Flood
John Coltrane – My Favourite Things
Faron Young – Live Fast, Love Hard, Die Young
Sunday, 17 September 2017
Live albums don't tend to take up much of my time- often they're the sort of record that get played once or twice and then filed and I don't own very many. If it's a recording of a gig you attended I can see the point and I can happily spend time listening to, say, bootlegs of New Order in the 80s but too often they don't do too much for me. I'm sure you can all make suggestions to counter that view (and I'm happy to be corrected). But there's a release coming up of a gig The Replacements played at Maxwell's in Hoboken, New Jersey in April 1986 and the songs that have been posted on Soundcloud have got me interested. The studio versions of some of The Replacements songs didn't always do the songs justice- I've posted the unreleased rougher Tim version of Can't Hardly Wait before and it is miles better than the released one on Pleased To Meet Me. The outing Can't hardly Wait got at Maxwell's sounds close to definitive.
Pitchfork have a riotous sounding run through Bastards Of Young here. The Replacements For Sale: Live At Maxwell's 1986 is a double cd, out at the end of the month, making October looking like it's going to be as expensive as September has been. The tracklist is a pretty perfect selection of songs with I Will Dare, Unsatisfied, Answering Machine, Takin' A Ride, Color Me Impressed, Left Of The Dial, Kiss Me On The Bus, Black Diamond, Waitress In The Sky and Fuck School among the 28 songs.
In 1986 the band played Saturday Night Live. They were drunk and swore on live TV and got banned from ever playing on the show again. In a funny little coincidence they are introduced playing Bastards Of Young by the great Harry Dean Stanton who died yesterday aged 91. It has to be said, they sound better drunk than many bands sound sober.
By the time they played Kiss Me On The Bus Paul, Chris and Tommy had swapped clothes...
I don't think Saturday Night Live went out at a funny angle- the Youtube uploader's done it to avoid copyright issues.
Harry Dean Stanton, RIP.
Saturday, 16 September 2017
Until yesterday I didn't know that Grant Hart's song 2541, his solo debut in 1989, was covered by Robert Forster (of The Go-Betweens). Forster put it out in 1994 on a four track e.p.
I like it, Forster's voice is good but he sticks largely to Grant's song, it's a pretty straight cover. When I found it on Youtube and then played Grant's own version afterwards, I found that in the trail of comments beneath Grant himself had logged in and left a comment saying he preferred Forster's version.
The song is a beauty, full of great lines and hard won wisdom. It tells the story of a couple getting together, moving into a new home and then the break up and the leaving. Grant builds in small details that root it in personal experience- Jerry and Jimmy in the first verse who find the place and the phone number, moving in and having to keep the stove on all night long 'so the mice wouldn't freeze', putting their names on the mailbox. The dream turns sour in the second verse though as Grant admits 'it was the first place we had to ourselves, I didn't know it would be the last'. From there the only way is down but all the while through the chorus we get the reminder of the attraction of the home, the big windows to let in the sun. The final verse sees the couple apart and moving out...
'Well things are so much different now
I'd say the situation's reversed
And it'll probably not be the last time
I'll have to be out by the first'
Story telling, moving and real, painting pictures with words, Grant had the full package as a song writer. He recorded the song twice himself, once for an ep 2541, a largely acoustic version (the one I posted yesterday) and then a fuller, band version that came out on his 1989 album Intolerance (which is my favourite). So here's that version too...
Friday, 15 September 2017
I was deeply saddened yesterday by the news that Grant Hart had died aged 56. It seems a bit silly to be actually saddened by the death of a musician you've never even met but there you go. Husker Du are a band whose songs and albums hold a place close to heart. Someone once said that Bob Mould's songs in Husker Du were more consistently excellent but Grant's peaks were peakier and it's easy to roll off a list of Grant Hart songs that completely hit the spot- The Girl Who Lives On Heaven Hill, Books About UFOs, Green Eyes, Keep Hanging On, Don't Want To Know If You Are Lonely, Pink Turns To Blue, Turn On The News, She's A Woman (And Now He Is A Man), Sorry Somehow, Never Talking To You Again, Flexible Flyer, She Floated Away...
Grant Hart was the hippie in a hardcore band- long hair, love beads, drumming with bare feet- who realised early on that drumming in a hardcore band could end up being pretty boring if that was all he did. So they became much more than a hardcore band, spearheading indie-punk through the 80s, paving the way for others to follow. Grant Hart was a drummer who knew how to write melodies and a songwriter who mainly dealt with the heavy stuff, but could cover it with shards of light. He took much of the blame for the break up of the band but he seemed to be the easy one to blame- he didn't hide his problems with drugs. His first solo album Intolerance is open about it. His post-Husker Du albums are full of great songs too- 2541, You're The Reflection Of The Moon On The Water, She Can See The Angels Coming, The Main, My Regrets, Admiral Of The Sea- all come close to his Husker songs and pack an emotional punch. Grant and Bob were estranged for much of the rest of Grant's life, appearing together only once to play two Du songs. They seem to have become more reconciled recently, communication opening up with a band agreed website to sell merchandise and a box set of their early works coming out in November. Their SST recordings still belong to SST who don't seem to want to sell. And they should, so something right and proper can be done with the back catalogue.
Last year I wrote a Husker Du ICA for The Vinyl Villain- you can read it here. I named my 10 track compilation after one of Grant's songs, Keep Hanging On (a song from Flip Your Wig) and used it to close my imaginary record. This is what I said about Keep Hanging On and I stand by every word even more now...
'Keep Hanging On- there are so many songs I could or maybe should have closed this album with but this one always hits me right there. From Flip You Wig, buried away towards the end of side 2, the guitars are deliciously distorted, Greg’s bass builds, the drums thump and Grant sings his heart out. His voice sounds like he is just about hanging on but ultimately this is uplifting, life affirming stuff.
Only angels have wings, girl
And poets have all the words
The earth belongs to the two of us
And the sky belongs to the birds
And poets have all the words
The earth belongs to the two of us
And the sky belongs to the birds
You've given me so much happiness
That I'll wrap up and give you this song
You gotta grab it with both hands
You gotta keep hanging on’
That I'll wrap up and give you this song
You gotta grab it with both hands
You gotta keep hanging on’
Thank you for all the songs Grant. They mean so much.
Bob Mould put this tribute on his Facebook page yesterday morning-
'It was the Fall of 1978. I was attending Macalester College in St. Paul, Minnesota. One block from my dormitory was a tiny store called Cheapo Records. There was a PA system set up near the front door blaring punk rock. I went inside and ended up hanging out with the only person in the shop. His name was Grant Hart.
The next nine years of my life was spent side-by-side with Grant. We made amazing music together. We (almost) always agreed on how to present our collective work to the world. When we fought about the details, it was because we both cared. The band was our life. It was an amazing decade.
We stopped working together in January 1988. We went on to solo careers, fronting our own bands, finding different ways to tell our individual stories. We stayed in contact over the next 29 years — sometimes peaceful, sometimes difficult, sometimes through go-betweens. For better or worse, that’s how it was, and occasionally that’s what it is when two people care deeply about everything they built together.
The tragic news of Grant’s passing was not unexpected to me. My deepest condolences and thoughts to Grant’s family, friends, and fans around the world.
Grant Hart was a gifted visual artist, a wonderful story teller, and a frighteningly talented musician. Everyone touched by his spirit will always remember.
Godspeed, Grant. I miss you. Be with the angels.'
Thursday, 14 September 2017
A friend posted this tune on social media yesterday. I could place the title but not how it went. A lot of Bandulu's mid 90s techno worked very well at the time but does sound, two decades later, very thump-thump-thump techno. Bandulu were also capable of moments of ambient magic and Run Run is one of them, a righteous piece of ambient dub from their 1994 ep Presence (and 1994 album Antimatters) with a vocal from John O'Connell. The dub swirls and storm clouds gather. A piano fades in and out. Smoke bubbles. Half time, off beat rhythm. Seven minutes where all is good.
The picture was taken on a visit the other weekend to Mellor, in the hills above Stockport. I read a reference to an iron age hill fort and burial mound up there, out beyond Marple Bridge but before you get to New Mills (Half Man Half Biscuit once told us 'No frills, handy for the hills, that's the way you spell New Mills' and this caused some excitement when we detoured through it, as you can imagine). The photo was taken within the boundary of the hill fort, partially excavated, looking back towards Manchester. You can see for miles, way beyond the city and out to Cheshire and Merseyside. A 5 minute drive away, down the dip and up again, is the field where the barrow is (sadly on private land so not accessible but visible). We stood on the hillside looking at the same landscape, give or take a large city, that local people 10, 000 years ago would have been looking at.
Wednesday, 13 September 2017
Bicep's new album, Bicep, is getting a lot of my listening time right now. Bicep, a duo from Belfast but now in London, began as a blog, became a dj pair and then moved into production, inspired by artists like Aphex Twin and Laurent Garnier. This track, out back in June, is a perfect introduction to their sound- starting out sparse and becoming a heady trip, synths buzzing and blipping. The second half takes things down and then back up. If you've got any interest in electronic music or dance music and believe in the possibility of techno/house/electro still having somewhere new to go, give it a spin. Out now on Ninja Tune.
Aura (12" Mix)
Tuesday, 12 September 2017
Thunder is a good way to start a song. I was thinking this on Sunday night as thunder rumbled away outside our window, the odd flash of lightning and rain fell like stair rods. And while scrolling through a folder of songs, looking for something else, I found this song and clicked play. It started with thunder and I don't ignore those kind of coincidences. It's a gorgeous song too, a cover of a Mary Margaret O'Hara song, by Ivo Watt Russell's 4AD dreampop collective This Mortal Coil. (off their final album Blood, from 1991). The thunder is followed by a slow heart beat pulse bassline and then we're into dark night of the soul territory- and we come out feeling better.
Help Me Lift You Up
Tragically, the beautiful voice of this song, Caroline Crawley (whose main band was Shelleyan Orphan, a psychedelic, folk-pop group) died in October 2016 after a long illness. Which makes this sad sounding song all the sadder.
Monday, 11 September 2017
On Friday night I got in from an hour in the pub and watched/fast forwarded through a few backed up episodes of Top Of The Pops, currently repeating episodes from the summer of 1984 (but only those ones without any convicted sex offenders presenting). Apart from The Smiths (Heaven Knows..., my least favourite Smiths song), Frankie (Two Tribes, number one, frighteningly 2017 thematically) and Bananarama (Rough Justice, a good song, the three girls dancing like real people actually dance rather than robo-dancers), the thing that jumped out at me- almost actually leapt from the screen on top of me, honest- was Absolute by Scritti Politti.
It's a long way from Skank Bloc Bologna to Cupid And Psyche '85. Absolute, a song I'd largely missed before, is a beauty, full of mid 80s pop and r'n'b flourishes, drum pads and synths and Green gamely strumming a guitar that I can't hear anywhere in the mix. The tune sounds simple but is pretty complex. Little musical parts appear and disappear, subtly different from ones that have gone before. There's some mid 80s funk in there too and some changes and skips that make the song move about and almost cause you have to pause to catch your breath. On top of it all sits Green's vocal, a falsetto that floats away dreamily but somehow holds the whole thing together. I read the description 'avant-pop' somewhere (which seems like a typically serious way to intellectualise something so joyful- and I've no doubt Green and others did intellectualise it) but 33 years later this just sounds like a fucking great, open minded, inventive pop song. What a way to start my weekend and what a way to start your Monday
Also, Princess Diana hair with Nike Windrunner jacket. Sick.
The two Top Of the Pops performances can't be played on Youtube because they are 'blocked in [my] country on copyright grounds'. Top Of The Pops is blocked in the UK. Nope, me either. Here's the video instead.
Sunday, 10 September 2017
This 1988 compilation was the first to attempt to pull together on one piece of 33rpm vinyl what had been going on in Ibiza in the summers of '87 and '88 and which was then transplanted back to the UK. From its eye-catching front cover on in it is a pretty essential purchase, showing the broad church that acid house was at the start. The tracks range from Eurodance (Electra's Jibaro) to sympathetic indie (The Woodentops and Thrashing Doves) to industrial sounds that worked on the dancefloor under the stars (Finitribe, Nitzer Ebb) to the random (Mandy Smith, The Residents). This track, Drop The Deal, was from Belgium's New Beat scene, young Belgian crowds dancing to slow-mo dance music in dark nightclubs. Somehow it made its way to the Mediterranean. Code 61 sampled Jean-Michel Jarre and Harry Belafonte for Drop The Deal. To these ears, the slightly wheezy drum machine aside, this sounds surprisingly fresh.
Drop The Deal
Saturday, 9 September 2017
This is very good, a new one from Doc Daneeka with a vocal from house legend Robert Owens, recorded in Berlin. The rhythm track becomes increasingly busy, the synths phasing in and out and the vocal twisting further around, repeatedly coming back to the word 'unconditional'. Vinyl only at the moment from here.
Friday, 8 September 2017
Well it took a while but it's finally Friday. The first Friday of September, the first Friday of the new school term and new school year- so getting there at the end of a week that has felt like it's been nine days long is worth celebrating. This song, a piece of New York gospel that got picked up and played in several legendary New York clubs in the mid 80s, is a celebration and a half. One of those who picked up on it and played it as the sun came up after all nighters at the Paradise Garage was dj Larry Levan. For a long time this song had brackets after the title which would read (Larry Levan Remix) but it's a mistake, a myth that has been fairly widely debunked. Levan played the record but didn't remix it. It doesn't really matter. Hold your hands up and sing.
Stand On The Word
Thursday, 7 September 2017
Holger Czukay, bassist in Can and artist in his own right, has died at the age of 79. Holger joined Can in 1968 and was a key player, not just on the bass, but in engineering and producing their records and encouraging and exploring the experimental electronics they moved into. His basslines were recognisable and innovative. Can have become one of the names to drop, one of the 'seminal' influences, but they were also genuinely groundbreaking and have layers and layers of sound to soak up. The rhythm section was often right at the forefront and by placing bass and drums at the heart of Can's sound, minimal and repetitive beats, they made krautrock something you could dance to. White, German men making dance music. Drummer Jaki Leibezeit died earlier this year too. Yesterday's Spacemen 3 song was over ten minutes long. This is double that. Plus, you can spot Bobby Gillespie's lyrical steal.
Yoo Doo Right
And just to demonstrate one outpost the Can influence spread to here's a dreamy Carl Craig remix from 1997, Future Days (Bladerunner Mix).
Wednesday, 6 September 2017
Some songs are over ten minutes long because they need to be over ten minutes long, they need time to unfold, to hit that narcoleptic groove, to let that drum machine run on and on and on, to let waves of bliss wash over you. This is one of them. Big City (Everybody I Know Can Be Found Here) was the opening song on Spacemen 3's 1991 album Recurring and their last single. The album version was shorter than the one here and the 7" and 12" singles were 4.35 and 8.35 respectively. This one is 10.51. Let Sonic Boom's blissed out, guitar-led response to acid house take you home.
Big City (Everybody I Know Can Be Found Here)
Tuesday, 5 September 2017
One of the late 80s most infectious singles, sung by the gorgeous Neneh Cherry, produced by Bomb The Bass' Tim Simenon and here remixed by Arthur Baker. He stretches it out, adds a house drum groove and chops up the vocal at the end.
Buffalo Stance was a big hit for Neneh in 1989. Originally it had been a B-side to a poor 1986 single called Looking Good Diving by Jaime Morgan and Cameron McVey, produced and put out by PWL. Nick Kamen later covered it too, for extra awfulness. Given all of that it's amazing that such a good single was the end result. Cameron McVey became Mr Neneh Cherry in 1990- and as far as I know, he still is today.
Buffalo Stance (Nearly Neue Beat)
Monday, 4 September 2017
I read, skimmed more likely, an article recently about albums that are 30 years old this year- REM's Document, The Smiths' Strangeways, Here We Come and The Jesus And Mary Chain's Darklands were the three guitar led biggies. It also included George Best by The Wedding Present, a record Dave Gedge and his band have been touring all year.
George Best is a superb album. Released in October 1987 George Best is the sound of four men plugging in and playing. There is no sense of production to speak of, no studio presence or tricks, just two guitars, bass and drums, recorded as they sounded live. Low budget, no frills. The cover shot picture of George Best and the green frame look like they could have been knocked up in minutes (and what a great shot of George it is). From the moment the needle hits the vinyl (or the cassette tape starts to spool) the 1987 indie kid then got twelve snapshots of Dave Gedge's gruff northern voice over indie guitar rock. Gedge's conversational lyrics and delivery were easy to identify with, a kind of northern (universal) poetry.
The album included a new version of the single that preceded it, My Favourite Dress. It opens with crunchy guitars, a two chord riff, and then the band come in. Gedge's first verse deals with jealousy ('am essential part of love') and then comes the resigned 'there's always something left behind- nevermind'. In verse two a drunken Gedge describes the 'scent of someone else in the blanket where we lay'. And then we get the best bit, the change, and a list of painful reminders of her- uneaten meals, a welcome ride in a neighbour's car, getting soaked walking home, falling asleep waiting up for her to come home- building up to him seeing her kissing someone else and his hand on the dress. A growl as he delivers the final line 'that was my favourite dress you know'. Love and loss in your late teens/early twenties skewered.
My Favourite Dress
Sunday, 3 September 2017
Here's what you'll be spending your money on this month. Weatherall's end of August edition of Music's Not For Everyone, taking in amongst others Khidja, Fontan, a fantastic new disco-tinged song from Duncan Gray, Eric Legrand, King Tubby, Peter Perrett, Wild Woman And The Savages and a new from his own forthcoming solo album
Saturday, 2 September 2017
Oh look everyone, Mogwai just recorded and released one of the best things they've ever done. And it doesn't sound like a nuclear apocalypse either.
Feedback intro leading to Hooky-esque bass, rolling drums, euphoric guitars and gentle singing, everything rising steadily and insistently to a crescendo. Seems to fit in with these end days of summer, the closing in of the nights, the fading sunshine and Autumn's chilly fingers poking at you.
This song, from 2008's Hawk Is Howling, is a masterpiece of flowing, ecstatic, instrumental rock, which could work equally well on a dancefloor. One of my favourite pieces of music from the last decade.
The Sun Smells Too Loud
The picture shows a statue of Friedrich Engels, imported from Ukraine and placed outside the Manchester's new arts centre Home, in Tony Wilson Place. Engels lived in the city in the middle of the 19th century and wrote The Condition Of The Working Class In England based on his observations and research here. Engels had been sent to Manchester by his father, to live in Weaste, Salford, to work at the family firm. It was supposed to 'cure' him of his radical views. It had the opposite effect. Karl Marx visited him several times during his almost thirty year stay. The rest, as they often say, is history.
Friday, 1 September 2017
More on the recent theme, this time a massive crossover hit for SL2 in 1992. On A Ragga Tip reached number 2 in the UK chart. The song is totally irrepressible, with the distorted piano riff, the chantalong MCing, the breakbeat and the bassline. Slipmatt and Lime and MC Jay-J created a song that you can only give in to, bounce up and down, and leave with a smile on your face. It was a song loved way beyond the hardcore/breakbeat scene, a ragga infused rave song that sold over two hundred thousand copies.
On A Ragga Tip
Their previous release was DJs Take Control, a number 11 hit in the UK. The two dancers, Jo and Kelly, must have burned thousands of calories with every show as this performance on BBC 2's Dance Energy shows....
They did Top Of The Pops too, with an audience a little unsure how to respond...
Thursday, 31 August 2017
While I'm in this techno/house groove we should have something from Detroit and one of the originators of the whole thing. Derrick May was one of the Belleville Three (the other two being Juan Atkins and Kevin Saunderson). The sound they cooked up in Belleville in the mid-to late 80s was partly a result of isolation (Belleville was pretty racially segregated at the time and the three stuck together). Belleville was a rural suburb of Detroit and many of the residents worked in the car factories, well paid jobs. The black population of Belleville were a black middle class, with the disposable income to buy records and equipment. May, Atkins and Saunderson listened to Kraftwerk, George Clinton, Prince, Yellow Magic Orchestra, The B-52s. Eventually Atkins bought a synth and then taught the other two to dj. They began to play records in the clubs of Detroit and then ventured further, discovering Chicago's house scene. Suitably inspired by the scenes in Chicago's warehouses and clubs, and the largely black and gay crowd losing it on the dancefloor, they returned home to fuse Chicago's house music with Kraftwerk's mechanical sounds, with the stated intention of creating the music of the future.
The second release under the mis-spelt Rhythim Is Rhythim name was Strings Of Life, one of the key records of the UK's Second Summer Of Love. Nude Photo, co-written with Thomas Barnett, preceded it. Barnett describes driving home after a disappointing session writing with Derrick, with the idea of the 'three Roland drum machines strategically placed on the floor of Derrick's living room' and how he wanted to make them join together in an 'extra-terrestrial-midi-rain dance'. The track was created the following day. The sampled laughter comes from Yazoo. The rest comes from Derrick and Thomas.
Wednesday, 30 August 2017
One of my favourite tunes of last year was Doc Daneeka's massively upbeat slice of retro-rave, recently repressed on vinyl.
The vocal sample is from I Don't Wanna Lose Your Love by The Emotions, from 1976. Back in 1992 it was used by 2 Bad Mice, a duo from Hertfordshire 'fuelled by takeaway pizza and spliff'. Hold It Down is a great record, from a time when bedroom producers with some basic equipment, a stack of records and a few of ideas could move mountains. Incidentally, the vocal sample is also the line Bobby Gillespie was singing when Weatherall created Loaded (as posted by Drew at Across The Kitchen table earlier this month).
1991 was the time when the dance scene fractured, with the rise of 'ardkore. Hardcore/'ardkore developed between 1991 and 1993, new producers, djs and clubbers arriving and shifting things on, with breakbeats rather than metronomic drum machines, increasingly fast tempos, 'cheesey' synth sounds, sub-bass and sped up vocal samples. 'Ardkore also lurched away from the utopianism of early house/acid house towards a darker vibe- but Hold It Down, the title itself a phrase used by people in clubs rushing on E, isn't too dark, more massive fun. Hands in the air people.
Tuesday, 29 August 2017
Almost everything I've posted here recently, except for the Ride song at the weekend, has been bleeps and squiggles, 303s and 808s, and I had every intention of sitting down to write a post with guitars in it but then I read Michael's comment on one of my Warp posts last week where he mentioned Join The Future by Tuff Little Unit. Released on Warp in January 1991 this is a superb techno record, a deep wandering bassline, clattering drumbeats and some lovely sinuous synthlines. People often say techno is cold and austere but this is warm and inviting and in the words of a commenter at Discogs way back in 2002 'you can feel the hidden euphoria of a new generation in it, a tune for the after hours'. Perfect.
Join The Future 12" Mix
Monday, 28 August 2017
Hardkiss were a San Franciscan trio who played a key role in the early 90s in establishing rave/dance music in the USA. At first they put on parties, promoting and djing, then moved into producing records and running a label. All three- Scott (God Within), Gavin (Hawke) and Robbie (Little Wing)- started making their own work which then got mixed together on their 1994 album Delusions Of Grandeur. This is a twenty minute segued sampler mixing ten of the tracks which make up Delusions... (which was remastered and re-released in 2015).
1. God Within - ''Raincry (Spiritual Thirst)''
2. Hawke - ''3 Nudes Having Sax On Acid''
3. Drum Club - ''Drums Are Dangerous (Drugs Are Dangerous)''
4. God Within - ''The Phoenix (Rabbit In The Moon's Riverandrain Mix)''
5. Little Wing - ''Mercy Mercy''
6. God Within - ''Daylight (Dreamerdreamsalone)''
7. Hawke - ''Pacific Coastal Highway #1''
8. Rabbit In The Moon - ''Out Of Body Experience (Burning Spear)''
9. Unknown - ''Top Secret Song''
10. Little Wing - ''Thing (One)''
This being San Francisco things are pretty cosmic and hippy in places and by all accounts SF rave had a New Age 'spiritual vibe' (plus drugs) that marked it out as different. The trio saw Future Sound Of London's Papua New Guinea as the starting point for what they wanted to do and the album's tracks go from acid house to trance to breakbeat and techno. In places they veered close to the kind of mood music cds you can find in garden centres with samples of bird calls and monkeys but on the whole this is forward thinking, open minded stuff.
As a bonus here's their inspiration, FSOL's Papua New Guinea, a true moment of greatness. Counter intuitively, for something that works best as an extended track, this is a 7" version. Still epic and massive.
Papua New Guinea (7" Mix)
Sunday, 27 August 2017
This is Timothy J. Fairplay's remix of Mangsebung by Sweden's Fotan- thumping drum track, swirling noises and then the seagulls come in. Not one for those who have woken with a headache this morning. Relentless, trippy, satisfying.
The track is out on limited vinyl as one of five remixes on Fontan The Convenanza remixes (also featuring Red Axes, Khidja, Mythologen and Pardon Moi).
Timothy has also sent this into the wild ahead of a new ep. I don't like to quote directly from press releases but I can't do any better than this- 'a chuggy cosmic workout across time and space'.
Saturday, 26 August 2017
I expressed the view on Twitter recently that the new single from Ride is a lovely thing, shot through with an end of summer feel. Opinions were divided: some suggested that the new album is superb, party due to Erol Alkan's production and the simultaneous crunch and shimmer of the guitars; some could hear The House Of Love in the twin vocals; some suggested that it was alright, fine in a traffic jam on the radio but lacking true greatness; some suggested my mid-range hearing is shot.
I'm still into it several days later. From the opening bass intro, and diving bass runs through the verse, to the twin guitars and slightly out of focus vocals, it shimmers and swoops. The single version is shorter than the album one (which has an extended ending part) and the surfing video seems apt. An online reviewer suggested that hearing men in their forties sing lines like 'Kissed you on a beach and I was saved' is a bit embarrassing but I don't buy that. When payday finally arrives I shall be buying the album.
Friday, 25 August 2017
I mentioned LFO yesterday so it seems appropriate to follow up with something from their back catalogue. LFO were a Leeds based duo (Jez Varley and Mark Bell) who put out bass heavy techno and bleep 'n' bass on Sheffield's Warp Records. This track is a monster, the first track on their 1991 ep What Is House? Not as sparse as yesterday's Testone, Squeaky has a long, winding, descending synth noise, tough drums and lashings of sub-bass. Pretty abstract and in many ways quite extreme.
Jez left in 1996 leaving Mark on his own as LFO. He went on to work extensively with Bjork, remixing her and becoming part of her band for her Homogenic and Volta tours. This remix of Possibly Maybe chops up and distorts Bjork so much it bears little relation to the original song. Sadly, Mark Bell died in 2014.
Thursday, 24 August 2017
One of the many very specific offshoots of the acid house revolution of 1988 was bleep 'n' bass, an almost exclusively northern sub-scene. The first bleep 'n' bass record came from Bradford (Unique 3's The Theme) but after that Sheffield and Warp Records became the home of a style of dance music pretty much defined by its name- pocket calculate bleeps with deep, heavy, sub bass over a drum machine. A vocal sample to complete. Minimal, intense, British techno. Between 1989 and 1991 a load of great bleep 'n' bass records were made, best heard at full volume in pitch darkness with a strobe flashing away (but home listening will do too).
Sweet Exorcist were from Sheffield, a duo of Richard Kirk (of Cabaret Voltaire) and DJ Parrot (Richard Barratt). Their first record, in 1990, was Testone- made using some test tones and a vocal sample from Close Encounters Of The Third Kind. It is absolutely essential. Only LFO came close to this.
The video was directed by a certain Jarvis Cocker, pre-fame, and is a classic of its kind too.
Wednesday, 23 August 2017
As well as the slightly Orbital-by-numbers new track Copenhagen (which has grown on me over the last week) Orbital have celebrated their return by reworking an older track, Kinetic (a track they've reworked before admittedly). This 2017 version has some pretty spine tingling moments and is sure to work well with the crowd at the Apollo in December, a night when babysitters will be a premium in the Manchester area. Name your price teenagers.
Tuesday, 22 August 2017
There are records that come along and surprise you sometimes, songs that show a change of direction, new influences, time spent with other musicians a willingness to experiment with new ideas and new sounds. And then there are the new 12" single from Paul Weller.
There are three new songs, all out now digitally with a 12" to follow in September, all titled Mother Ethiopia, recorded with soul band The Stone Foundation. This one is part 3, subtitled No Tribe No Colour and done with London based Ethiopian three-piece Krar Collective, with the vocals sung in Amharic by singer Genet Assefa. This is super loose and super funky Afrobeat and it's likely to cause a certain amount of shuffling of feet and shaking of arses. The more conservative elements of Weller's audience may be slightly perplexed by this and rush off home to put on Going Underground again- but make no mistake, this is really, really good.
Monday, 21 August 2017
A New Order postscript- I meant to post this during last week's extravaganza and forgot so it's here as an extra. When Run 2 was released a buffed up version of Run (from Technique) was put out as a single in August 1989. The b-side was this, MTO (Made To Order apparently). The 12" was limited to 20, 000 copies ('19, 000 in the Greater Manchester area and 1000 for everyone else' was someone's comment at the time but I don't know if there is any truth in this). Peter Saville designed a very fetching sleeve inspired by washing powder packaging.
The band's engineer throughout much of the 80s was Michael Johnson and according to Hooky he put together this track/medley from bits lying around in the studio, largely constructed around Bernard's 'you've got love technique' vocal from Fine Time but also parts of what sounds like Vanishing Point's drum track. MTO was then remixed by Mike 'Hitman' Wilson. The 7" version is the best- a kick drum, some acid squiggles, a rubbery synth bassline and that vocal line. The longer Minus Mix uses some different vocal parts but loses the nice acidic squiggles for some more clattering drums. Neither is going to be on your Best Of playlist or cd but for some reason I'm quite fond of MTO.
MTO (Minus Mix)
Sunday, 20 August 2017
This came my way the other day, a massive, ominous, thundering piece of heavy duty ambient dub from 1992, Thrash and Greg Hunter reworking Killing Joke's Requiem. The single (12" and cd) came with some Spiral Tribe remixes of Killing Joke's Change, which are very much in the 1992 repetitive beats techno vein (and nothing wrong with that you may very well say). But this is the keeper- Requiem (A Floating Leaf Always Reaches The Sea Dub). The bassline alone is worth the entrance fee.
I always feel like I should know Killing Joke better than I do. I should find the time to do something about that.
Saturday, 19 August 2017
Tonight we are going to my niece's 18th birthday party. She is a very artistic and creative person and has given her party a retro space/sci fi theme, with fancy dress. So tonight Matthew, I am going to be ...Yuri Gagarin.
Gagarin (Richard Norris Vostok Remix)
After all that New Order (and I could go on I'm sure) it's time for a change of pace and style. Andrew Weatherall has uploaded another edition of his R.G.C. Archive Hour and it's another dub special. Opening with Sly and Robbie with Bunny Lee and running through to The Disciples via Mad Professor, Joe Gibbs and the wonderfully named song Drugs Is A Ting by Bush Chemist.
A Dub Tribulation – Sly & Robbie Vs. Bunny Lee
African Child (Dubz) - Sly & Robbie Vs. Bunny Lee
C.T.U.F.B – Sound Iration
Drugs Is A Ting – Bush Chemist
Rockfort Rock (Version) – Teamworks
Willow Tree (Dub) – Linval Thompson and the Revolutionaries
Whenever You Need Me (Dub) – Cornell Campbell
Dub Service – Mad Professor
Kunte Kinte The African Warrior – Mad Professor
Ghetto Pace - Mad Professor
Walls Of Jericho - Joe Gibbs & The Professionals
Revenge - Joe Gibbs & The Professionals
World Of Dub – The Revolutionaries
Natural Dub – Lidj Incorporated
The Message – The Disciples
Friday, 18 August 2017
Technique is my favourite New Order album. Released in January 1989 I was 18 years old and I bought it the day it came out and then played it endlessly. I had a poster of the beautiful Peter Saville cover, fly-poster size, abut 6' by 5', on my wall for ages. Technique is the sound of summer, nine songs infused with the spirit of sunshine, warm seas, blue skies and summer holidays but shot through with a sense of sadness and loss.
The single that preceded it was Fine Time and it opens Technique. New Order had gone to record the album in Ibiza, at Hooky's insistence, and spent three months there ('an expensive way to have a holiday' Tony Wilson). The story has it that they recorded a few drum tracks and a guitar solo and that most of the work recording it was done at Real World in Bath. This was down to two things- firstly, the studio was shit. Secondly the group and entourage were easily distracted by what Ibiza had to offer. So while the album wasn't really recorded in Ibiza ('about 20% done there' according to Barney) it is inspired by the adventures the group had in Ibiza's nightclubs, on Ibiza's drugs, with Ibiza's people (and the Happy Mondays who turned up to join in the fun). Fine Time is a full on electronic dance record, inspired by a tune Barney heard in Amnesia but couldn't remember the day after. A throbbing sequenced bassline, bleeps and staccato stabs, and that 'sexy', slowed down vocal. This Top Of The Pops performance is legendary, as Barney introduced the viewers to the Bez dance. Playing live too.
Fine Time came out on 7", 12" and a remix 12" with this version by Steve 'Silk' Hurley complete with sheep noises and the full Barry White vocal 'You got style, you got class, but most of all... you got love technique'.
Fine Time (Steve 'Silk' Hurley Remix)
Fine Time is a blast, a proper dance record. The rest of the album is eight slices of perfect Mancunian dance pop, effortlessly combining acoustic guitars, real drums, drum machines, some of Hooky's most melodic bass runs, gorgeous synth lines, frazzled guitar solos and Barney's best vocals. Lyrically the songs were all Bernard's work and most seem to reflect on love and life gone wrong and the lessons learned. To pick four examples from four different songs relatively randomly...
'My life ain't no holiday
I've been to the point of no return'
'It takes years to find the nerve
To be apart from what you've done
To find the truth inside yourself
And not depend on anyone'
'I spent a lifetime working on you
And you won't even talk to me'
'I'm not some kind of foolish lover
I couldn't take this from no other
You're not being cool with me
Cause I always know that you'll come back to me'
Run (which was also a single, released in a slightly remixed form by Scott Litt as Run 2) is allegedly about Factory and Tony Wilson and the Hacienda's financial problems. John Denver sued the band because of similarities between Run and his Leaving On A Jet Plane. I struggle to hear the similarities but I wasn't the judge and Denver was awarded a writing credit for the song.
I can't choose between any of the songs on Technique- some are more guitar based, some more singalong, some more dancey, some all out pop, but all hit that sweet spot musically, vocally, lyrically and spiritually. Recently Vanishing Point and Mr Disco have been the ones really doing it for me. Mr Disco has a stuttering keyboard part and then guitar/bass backing. The drum machine sends this squarely to the open air dancefloors of Ibiza's clubs. Bernard sings of 'the holiday we spent together, lives with me now and forever' and the gorgeous hook 'I can't find my piece of mind, because I think about you all of the time'. After the chorus there are crashing synth stabs and instrumental breaks, a synth clarinet maybe, and then verse and chorus again. The dropout at 2.39 with synth bass and drum machine is heart-stopping. Then there are more wonderful synths before the chorus comes back a minute later and a whispered bit leading towards the pile up at the end and the sound of hitting all the keys on the synth at once. One of their very best.
As a bonus, here's the sublime Vanishing Point played live on Channel 4's Big World Cafe
and Round And Round from the same show...
So there you have it, a magnificent album containing none of the songs they're best known for, a number one hit on the UK album charts, a record that is getting on for thirty years old and, I'm afraid, the last time they were truly great. After this they splintered into the various side projects, came back together for the World In Motion single, splintered again, re-united to make an album in a doomed attempt to save Factory from bankrupcy and then split again and then there's all of that leading up to the very bitter position they're in today. I've read all three of Hooky's books and very entertaining they are too. I've read Bernard's book. I've read other books about Factory and New Order. I've read countless articles about them and interviews with them. And what have I learned? That they made some my favourite records and that in the end, despite the fact that the story of New Order, the mythology, is hugely important, what really matters is the tunes.
Thursday, 17 August 2017
Day 4 of New Order week and I've got two live performances for you and some discussion of related recorded work. First up is this, sometimes described as one of the two Holy Grails of NO live bootlegs (the other is the debut performance at The Beach Club in Shudehill, Manchester, 1980).
On June 30th 1983 New Order played a gig at Cabaret Metro in Chicago. It was a blisteringly hot day, temperatures in the club reaching the high 90s. New order were famously hit and miss during this period, partly due to their own approach to playing and partly due to having equipment that was totally unsuited to live performance, sequencers and synths and drum machines. In Chicago the crowd were already a bit irate and not just due to the heat. The support act had finished over two hours before New Order took the stage. The gear makes it through the first four songs and then during Truth the sequencer starts to misbehave. The y make it through Leave Me Alone with no problems but the long gap between the end of that song and the start of Your Silent Face is punctuated by bleeps and bursts from the sequencer and audience members and bass players complaining about the heat. From here on in it's a kind of NO unplugged gig. The tape of this gig recently found its way into the hands of blogger and New order enthusiast The Power Of Independent Trucking and he has presented it for our enjoyment here with a FLAC download. These are his words about the rest of the gig...
Eventually, “Your Silent Face” starts. It devolves into a unique and fascinating exposition on what a sequencer-using band does when the sequencers are failing mid song - Steve Morris jumps behind the drum kit far earlier than usual, and essentially drives the song to its skittering end as the sequencers never recover. I think this take is spectacular and I think you’ll agree.
Barney then makes reference on stage to equipment and power problems, mentions the band’s just going to jam, and Steve then pounds out the drum riff for “Denial”. Instead of jamming, the band then finishes the set with four straight sequencer-free tracks, ending on the majestic “In A Lonely Place” well into the wee hours of the morning.
There is no jamming, no acoustic “Blue Monday” despite the venue owner’s misremembered statements made over the years since. It’s possible of course at some point these did exist and were edited out from this tape upstream, but I doubt it and all other recollections of this gig fail to mention any acoustic “Blue Monday” performances.
While listening to this on Youtube the other night a link in the sidebar caught my eye which was this one, a gig from 1986 at the Spectrum Arena in Birchwood, Warrington. The venue no longer exists but there is a large Ikea near where it was. There's progress for you. This is a soundboard recording opening with stand alone single State Of The Nation and then taking in songs from the previous six years.
State of the Nation
As It Is When It Was
Your Silent Face
Age of Consent
Sunrise (cut short)
Sunrise is cut short due to the tape running out and according to some of those that were there the group did return for an encore, long after the lights had gone up and half the audience had left, running through Love Will Tear Us Apart but this hasn't been recorded. This is a good quality recording and the band sound on fire, a slightly misfiring Confusion aside.
The Warrington gig was a few months before the release of Brotherhood. Brotherhood is a funny record. I listened to it the other day. It doesn't have the great leap forward of Power, Corruption And Lies nor the newly found confidence of Lowlife and lacks the skyscraping quality of Technique's songs. It's a bunch of songs plus Bizarre Love Triangle. It's is divided into side 1 (rockier songs) and side 2 (dancier songs) and side 2 is the clear winner. Bizarre Love Triangle is arguably their greatest song and the three that follow are all top notch (All Day Long, Angel Dust, Every Second Counts). Side 1 is five songs that are all good album tracks but together they seem to lose something. Maybe it is the division into two separate sides that doesn't work and sequenced differently they'd stand out more. The five are Paradise, Weirdo, As It Is When It Was, Broken Promise and Way Of Life. Broken Promise is reminiscent of early NO, powerful, stacked full of guitars and churning lyrics. As It Is When It Was is a hidden beauty, starting slow and sparse but gaining in pace and urgency, the Love Will Tear Us Apart bass riff reappearing, a song that would make a top ten of New Order non-single songs. As would Way Of Life which burns and fizzes with some great guitar-bass interaction, Hooky reversing the Age Of Consent bassline. Paradise and Weirdo are decent songs but definitely album tracks- Paradise a bit lightweight and an odd opener to these ears. Weirdo is stronger, pumping bass and drums but a bit tinny maybe. If you go to Youtube you'll find people saying that these two are their favourite NO songs. I wouldn't go that far but I've been re-listening to side 1 this week and found a lot in these songs to enjoy. Maybe it's just that I don't listen to them that often and the novelty gives them freshness. It's hard to get away from the feeling though that overall as an album, in some ways, it hasn't got the same magic that Power, Corruption And Lies, Lowlife or Technique have.
Barney blames the overdubbing, too much of it, too many instruments layered on top of each other. Brotherhood was surrounded by some of New Order's best singles too- True Faith and Touched By The Hand Of God both came out within the following year and Shellshock and State Of The Nation preceded it (Ok, maybe neither of the 1986 pair is quite as good as the 1987 pair). It just goes to show that, despite all the tensions within the group (and according to both Hook and Sumner there were many by this point), they were still capable of making truly great songs but their insistence on dividing songs into singles and albums (which I applaud on the whole) meant that the album got shortchanged a bit. Stephen Morris has said that dividing Brotherhood into rock and dance sides didn't quite work and I think I'd agree. On the other hand Hooky likes the five rockier songs together, showing, as he sees it, 'what the band was all about'. So it goes.
Wednesday, 16 August 2017
By 1985 New Order were well into their stride, the faltering, unsure, step-by-step progress of the early years well in the past. 1983's album Power, Corruption And Lies more or less invented electronic indie and contained at least two career high points (Age Of Consent and Your Silent Face) as well as the blueprint for Blue Monday. The run of singles from 1982 to 1985 takes in Temptation, Blue Monday, Confusion, the peerless Thieves Like Us plus its B-side Lonesome Tonight. Then they put out another album, recorded in 1984 and released in May '85- Lowlife.
Lowlife only has eight songs on it but almost every one is a winner, disco and rock seamlessly intertwined. The sound combines full on synths and sequencers with Hooky's distorted bass providing the rock ballast. Stephen's drumming, with plenty of digital delay, is crisp and loud. The guitars are trebly and choppy, like Velvets era Lou Reed on acid. Lowlife is the first New Order album to contain singles and the first to feature band photographs on the cover (which Peter Saville then obscured by wrapping in tracing paper). From opener the Salford country & western of Love Vigilantes with Barney's enigmatic Vietnam War lyric to the magnificent closer Face Up this is a record I never get bored of. Face Up is huge, a glorious synth and bass intro, sampled choral voices, synth drum pads and then ... whoosh, we bounce along in NO disco heaven. The lyrics contain the usual mix of clunkers and the perfect skewering of life (see 'your hair was blonde, your eyes were blue, guess what I'm gonna do to you' and 'we were young and we were pure and life was just an open door'). Up until 1989 the lyrics were usually a group effort. For Technique Barney took over lyrics and vocals completely, something else Hooky rues as a nail in the coffin.
Sub-culture is here too, another disco-rock peak, Barney's vocals sounding like a guide vocal that he never bothered to redo (and all the better for it). That one fingered synth intro, followed by the drum machine and then the dark lyrics about walking in the park late at night and shafting on your own. Sub-culture is a close cousin of The Perfect Kiss and builds similarly, synth drums and bass riffs piling on top of each other. It was later released as a single in remixed form (by John Robie, an inferior version really with backing vox and synth stabs. Peter Saville was so disappointed he refused to design a sleeve for it). Hooky points to Robie's influence as being one of the turning points that ruined the group. Before Robie they didn't write songs following any rules- after Robie Bernard insisted on all the songs being in his key and eventually they became verse-chorus- middle eight formulaic. But let's leave the blame game aside and stick to the songs. Elegia is their intense instrumental tribute to their former, deceased frontman. I posted the unedited fifteen minute version last autumn and if you haven't heard it you should seek it out. The Perfect Kiss is inserted as track two, a peak among peaks (although it's an edited version on Lowlife. You need the full-on 12" version, a single for which the 12" format might have been invented). The Perfect Kiss has peaks and troughs, bass playing that is something else entirely, and several climaxes. This Time Of Night and Sooner Than You Think are both good album tracks. If pushed I could live without Sooner.... I suppose. But today's song is this one, closing side one, Sunrise. Possibly the rockiest song on Lowlife it opens with descending synth chords before being joined by a superb bass riff -then the whole band join in, pronto. The guitars rattle, bottle tops on the strings to get a Morricone sound and Bernard's vocal is straining, at the top of his register. The synths continue to wash away. The guitar, bass and drums drive away. At the end Bernard thrashes the toggle switch on his guitar. Done.
Tuesday, 15 August 2017
More early New Order. Movement was released in December 1981 and was by all accounts a difficult album to make. The group were unbalanced and their way of working was broken (during the Joy Division days the group would jam and Ian Curtis would spot the good bits which would then be worked into songs). No one especially wanted to sing and none of them could play and sing at the same time (this would become part of their sound in the 80s- Barney's guitar playing filling the bits where he's not singing and Hooky frequently carrying the melodies. Weaknesses become strengths). Movement was produced by Martin Hannett but the relationship between the group and the producer had broken down. According to Hooky 'Hannett would lock himself in the control room, saying 'Start playing, I'll come out if I hear anything I like'. He never came out'. Hannett was also suing Factory at the time which can't have helped.
Out of this came an album which sounds a bit like Joy Division but without Curtis, trying to move forward but not really managing it. The real movement would come with the singles- Everything's Gone Green, Procession, Temptation and the second album. Having said that time has left some highlights- Doubts Even Here, The Him and ICB all have glimmers of the future and the sounds are becoming more varied. The peak is the opener, the only song on the album which is just guitar, bass and drums and the one that Hooky sings. Dreams Never End is a properly exciting song, from the intro of driving bass and guitar lines playing around each other onwards.
Dreams Never End
Peter Saville's cover art, Italian futurism again, is beautiful.
As a bonus here's a lost child of the New Order story. In 1982 New Order recorded a second Peel Session. Two of the songs would later appear on Power, Corruption And Lies, an album which redefined them and their music. The two other songs were a cover of Keith Hudson's dub reggae song Turn The Heater On (an Ian Curtis favourite and recorded for him, I've posted it before) and Too Late.
Too Late is a moody song, synth drums, beautifully distorted bass and glacial pace, haunting and the equal of most other songs from around this time. According to Hooky when they were having a go at recording it Bernard had nipped out of the studio. The other three put some backing vocals down. When Barney returned he showed his disgust at this and walked out. It was never finished. And in Hooky's view this was one of the starting points for Bernard grappling for control of the band. As a result of this Too Late would only ever appear as the Peel Session version.
Monday, 14 August 2017
Before my holiday I promised/threatened some New Order posts, so that's what's happening for the next few days I think- nuclear war and a Nazi takeover of the US notwithstanding. It is utterly appalling that the President cannot condemn actual Nazis on the streets of the a US city, murdering people. It is utterly appalling that Nazis still exist to demonstrate openly. This is the swill that comes to the fore following Trump's election, Farage's games, Brexit, 'populism' and austerity. Racists emboldened to show their faces in daylight.
Back to the music. Procession is an overlooked New Order single being neither the defiant 'we're alive' rallying cry of Ceremony nor the 'we've just invented dance-rock' blast of futurism that is Everything's Gone Green. In his book Substance- Inside New Order Hooky names Procession as one of four key songs that led the group out of Joy Division's rock and into New Order's electronics. During the 80s most New Order songs were written by the group jamming and then identifying the best bits and working them into a song. Procession was different, largely written by Stephen Morris (the lyrics and vocal lines plus a lot of the keyboard parts apparently). No sequencers at this point but the road to Blue Monday (and beyond) is clearly present. The 7" single was released in September 1981, a few months before Movement. The other side is Everything's Gone Green, a much more significant song, a huge, throbbing piece of dance-rock and a massive step forward. Procession gets overlooked. Which it shouldn't.
Peter Saville's sleeve came in nine different colours (for the record I own two, a blue and a green) and is based on Italian futurist designer Fortunato Depero's work. Everything's Gone Green would be released later in 1981 as a full length 12" version. These songs were the last New Order songs produced by Martin Hannett. According to Hooky, Hannett made Barney do the vocals forty three times. Hannett was bereft without Ian Curtis and had little time for the three that were left behind. In return Hook, Sumner and Morris had had enough of Hannett and his methods and habits and felt they'd learned enough to produced themselves. Procession is light and poppy, with synths to the fore, but also dense and uptight. The vocals are muffled and indistinct in places. Hooky's bass is still very much a Joy Division bassline and Stephen Morris's drums are as urgent and precise as ever. There are backing vocals from Gillian, a bit of light in the shade, and it all comes together with the 'your heart beats you late at night' vocal followed by some spindly guitar from Barney and then a sudden end before the synth outro. Compared to the largely dour Movement from later that year things are moving forward though, clearly.