Joy Division were significant for the post-punk music generation for taking the energy, immediacy, and anger/violence of punk and applying it to mood, expression, and atmosphere. They bridged punk and synthpop. They only made two albums before the lead singer, Ian Curtis, killed himself, but both are seen as important. The band continued after the death of Curtis under the name of New Order, and became one of the most acclaimed and successful indie synthpop bands of the Eighties. The blend of guitars and synths was popular in the early Eighties, and that, combined with New Order's commercial appeal, meant they became a successful band who were felt by fans to be at the cutting edge of musical development. Their second album under the New Order name, Power, Corruption & Lies (May 1983), was a critical and commercial success, propelled by the phenomenal popularity of the non-album single "Blue Monday".
Joy Division were an English rock band formed in Salford in 1976. The group consisted of vocalist Ian Curtis, guitarist/keyboardist Bernard Sumner, bassist Peter Hook and drummer Stephen Morris.
Sumner and Hook formed the band after attending a Sex Pistols concert. While Joy Division's first recordings were heavily influenced by early punk, they soon developed a sound and style that made them one of the pioneers of the post-punk movement. Their self-released 1978 debut EP An Ideal for Living drew the attention of the Manchester television personality Tony Wilson, who signed them to his independent label Factory Records. Their debut album Unknown Pleasures, recorded with producer Martin Hannett, was released in 1979.
Curtis suffered from personal problems including a failing marriage, depression, and epilepsy. As the band's popularity grew, Curtis's condition made it increasingly difficult for him to perform; he occasionally experienced seizures on stage. He died by suicide on the eve of the band's first US/Canada tour in May 1980, aged 23. Joy Division's second and final album, Closer, was released two months later; it and the single "Love Will Tear Us Apart" became their highest charting releases.
The remaining members regrouped under the name New Order. They were successful throughout the next decade, blending post-punk with electronic and dance music influences.
Formed in the wake of the punk explosion in England, Joy Division became the first band in the post-punk movement by later emphasizing not anger and energy but mood and expression, pointing ahead to the rise of melancholy alternative music in the '80s. Though the group's raw initial sides fit the bill for any punk band, Joy Division later incorporated synthesizers (taboo in the low-tech world of '70s punk) and more haunting melodies, emphasized by the isolated, tortured lyrics of its lead vocalist, Ian Curtis. While the British punk movement shocked the world during the late '70s, Joy Division's quiet storm of musical restraint and emotive power proved to be just as important to independent music in the 1980s.
The band was founded in 1976, soon after the Sex Pistols had made their first appearance in Manchester. Guitarist Bernard Albrecht (b. Bernard Dicken, January 4, 1956) and bassist Peter Hook (b. February 13, 1956) had met while at the show and later formed a band called the Stiff Kittens; after placing an ad through a Manchester record store, they added vocalist Ian Curtis (b. July 15, 1956) and drummer Steve Brotherdale. Renamed Warsaw (from David Bowie's "Warszawa"), the band made its live debut the following May, supporting the Buzzcocks and Penetration at Manchester's Electric Circus. After the recording of several demos, Brotherdale quit the group in August 1977, prompting the hire of Stephen Morris (b. October 28, 1957). A name change to Joy Division in late 1977 -- necessitated by the punk band Warsaw Pakt -- was inspired by Karol Cetinsky's World War II novel The House of Dolls. (In the book, the term "joy division" was used as slang for concentration camp units wherein female inmates were forced to prostitute themselves for the enjoyment of Nazi soldiers.)
Playing frequently in the north country during early 1978, the quartet gained the respect of several influential figures: Rob Gretton, a Manchester club DJ who became the group's manager; Tony Wilson, a TV/print journalist and owner of the Factory Records label; and Derek Branwood, a record executive with RCA Northwest, who recorded sessions in May 1978, for what was planned to be Joy Division's self-titled debut LP. Though several songs bounded with punk energy, the rest of the album showed at an early age the band's later trademarks: Curtis' themes of post-industrial restlessness and emotional despair, Hook's droning bass lines, and the jagged guitar riffs of Albrecht.
The album should have been hailed as a punk classic, but when a studio engineer added synthesizers to several tracks -- believing that the punk movement had to move on and embrace new sounds -- Joy Division scrapped the entire LP. (Titled Warsaw for a 1982 bootleg, the album was finally given wide issue ten years later.) The first actual Joy Division release came in June 1978, when the initial mid-1977 demos were released as the EP An Ideal for Living, on the band's own Enigma label. Early in 1979, the buzz surrounding Joy Division increased with a session recorded for John Peel's BBC radio show.
The group began recording with producer Martin Hannett and released Unknown Pleasures on old friend Tony Wilson's Factory label in July 1979. The album enjoyed immense critical acclaim and a long stay on the U.K.'s independent charts. Encouraged by the punk buzz, the American Warner Bros. label offered a large distribution contract that fall. The band ignored it but did record another radio session for John Peel on November 26th. (Both sessions were later collected on the Peel Sessions album.)
During late 1979, Joy Division's manic live show gained many converts, partly due to rumors of Curtis' ill health. An epilepsy sufferer, he was prone to breakdowns and seizures while on stage -- it soon grew difficult to distinguish the fits from his usual on-stage jerkiness and manic behavior. As the live dates continued and the new decade approached, Curtis grew weaker and more prone to seizures. After a short rest over the Christmas holiday, Joy Division embarked on a European tour during January, though several dates were cancelled because of Curtis. The group began recording its second LP after the tour ended (again with Hannett), and released "Love Will Tear Us Apart" in April. The single was again praised but failed to move beyond the independent charts. After one gig in early May, the members of Joy Division were given two weeks of rest before beginning the group's first U.S. tour. Two days before the scheduled flight, however, Curtis was found dead in his home, the victim of a self-inflicted hanging.
Before Curtis' death, the band had agreed that Joy Division would cease to exist if any member left, for any reason. Ironically though, the summer of 1980 proved to be the blooming of the band's commercial status, when a re-release of "Love Will Tear Us Apart" rose to number 13 on the British singles chart. In August, the release of Closer finally united critics' positivity with glowing sales, as the album peaked at number six. Before the end of the summer, Unknown Pleasures was charting as well.
By January of the following year, Hook, Morris, and Albrecht (now Bernard Sumner) had formed New Order, with Sumner taking over vocal duties. Also in 1981, the posthumous release of Still -- including two sides of rare tracks and two of live songs -- rose to number five on the British charts. As New Order's star began to shine during the '80s, the group had trouble escaping the long shadow of Curtis and Joy Division. "Love Will Tear Us Apart" charted for the third time in 1983, and 1988 also proved a big year for the defunct band: the reissued single "Atmosphere" hit number 34 and a double-album compilation entitled Substance reached number seven in the album charts. Seven years later, the 15th anniversary of Curtis' death was memorialized with a new JD compilation (Permanent: Joy Division 1995), a tribute album (A Means to an End), and a biography of his life (Touching From a Distance) written by his widow, Deborah Curtis. In 1999, the Factory label began a program of concert-performance reissues -- all overseen by the remainder of the original lineup -- with Preston Warehouse 28 February 1980.
New Order are an English rock band formed in 1980 by vocalist and guitarist Bernard Sumner, bassist Peter Hook, and drummer Stephen Morris. The band formed after the demise of Joy Division, following the suicide of lead singer Ian Curtis; they were joined by Gillian Gilbert on keyboards later that year. New Order's integration of post-punk with electronic and dance music made them one of the most acclaimed and influential bands of the 1980s.[1] They were the flagship band for Manchester-based independent record label Factory Records and its nightclub The Haçienda, and worked in long-term collaboration with graphic designer Peter Saville.
While the band's early years were overshadowed by the legacy of Joy Division, their experience of the early 1980s New York club scene saw them increasingly incorporate dance rhythms and electronic instrumentation into their work. Their 1983 hit "Blue Monday" became the best-selling 12-inch single of all time and a popular club track.[3] In the 1980s, they released successful albums such as Power, Corruption & Lies (1983), Technique (1989), and the singles compilation Substance (1987). They disbanded in 1993 to work on individual projects before reuniting in 1998. In the years since, New Order has gone through various hiatuses and personnel changes, most prominently the departure of Hook in 2007. They released their tenth studio album, Music Complete, in 2015.
Rising from the ashes of the legendary British post-punk unit Joy Division, New Order triumphed over tragedy to emerge as one of the most 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 of synth pop appealing equally to the mind, body, and soul. The band's first releases were cold and sometimes abrasive as they struggled to come to grips with Ian Curtis' death. As their confidence and willingness to explore new sounds grew, their records became poppier and more accessible. Singles like 1983's "Blue Monday" and 1985's "The Perfect Kiss" established them as hitmakers, while albums like 1985's Low-Life often showed off a more melancholy, song-based sound. 1989's Technique was the band's high point commercially, and many would say artistically, as they seamlessly fused club culture and songcraft. After this, the band's attention began to split as members pursued other projects and only occasionally reconvened for New Order recordings, including for 1993's Republic. As the group continued to work sporadically, they were set on a different course when founding bassist Peter Hook quit in 2006. After shuffling the lineup a little the band continued to perform as a live act that occasionally released albums like 2015's Music Complete. Through it all, their influence never waned, and bands as diverse as Galaxie 500, the Chemical Brothers, and the Killers looked to their sound and songs for inspiration.
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| Perceptions of Joy Division v New Order New Order are seen as more trendy and popular, while Joy Division are regarded as odd, difficult, and miserable. |
The recordings
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| Unknown Pleasures (June 1979) |
This is the band's first official album release, and is generally regarded as their most significant, and is highly regarded, though the second sold more, as it was released shortly after Curtis' death. It's a moody and fairly introspective album, fitting comfortably into the post-punk genre. The music and the musicianship is simple and direct, and compellingly so. Curtis's lyrics and vocal performances are not attractive, but are somehow captivating. This is not commercial music, but nor is it difficult or demanding music. It is moody in a gothic way, and so quite appealing to angsty teens, though rewards more mature and experienced audiences by taking the energy, immediacy, and anger/violence of punk and applying it to mood, expression, and atmosphere in a new way, and also by the depth and genuineness of Curtis's torment. The band were bridging punk and synthpop at this point, and as such are the link between the Seventies and the Eighties. For many, they are the first post-punk band. .
| Released | 15 June 1979 |
|---|---|
| Recorded | April 1979 |
| Studio | Strawberry, Stockport |
| Genre | Post-punk |
| Length | 39:28 |
| Label | Factory |
| Producer | Martin Hannett |
Writing credits: The bands members jointly, all songs
| No. | Title | Length |
|---|---|---|
| 1. | "Disorder" | 3:36 |
| 2. | "Day of the Lords" | 4:48 |
| 3. | "Candidate" | 3:05 |
| 4. | "Insight" | 4:30 |
| 5. | "New Dawn Fades" | 4:48 |
| No. | Title | Length |
|---|---|---|
| 1. | "She's Lost Control" | 3:56 |
| 2. | "Shadowplay" | 3:54 |
| 3. | "Wilderness" | 2:38 |
| 4. | "Interzone" | 2:16 |
| 5. | "I Remember Nothing" | 5:53 |
- Ian Curtis – lead vocals
- Bernard Sumner – guitar, keyboards
- Peter Hook – bass guitar, backing vocals
- Stephen Morris – drums, percussion
Wikipedia
AllMusic:
Score: 6
 |
| "Love Will Tear Us Apart" (June 1980) |
The band's best moment. Stunning. Immortal. Everything the band (Joy Division and New Order) has done amounts to nothing compared to this.
 |
| Closer (July 1980) |
The second and final album of Joy Division. Lacks some of the energy and atmosphere of the debut, but sold well because of the success of the single "Love Will Tear Us Apart" which had been released the month before.
| Released | 18 July 1980 |
|---|---|
| Recorded | March 1980 |
| Studio | Britannia Row, Islington |
| Genre | |
| Length | 44:16 |
| Label | Factory |
| Producer | Martin Hannett |
All tracks written jointly by the band
| No. | Title | Length |
|---|---|---|
| 1. | "Atrocity Exhibition" | 6:06 |
| 2. | "Isolation" | 2:53 |
| 3. | "Passover" | 4:46 |
| 4. | "Colony" | 3:55 |
| 5. | "A Means to an End" | 4:07 |
| No. | Title | Length |
|---|---|---|
| 1. | "Heart and Soul" | 5:51 |
| 2. | "Twenty Four Hours" | 4:26 |
| 3. | "The Eternal" | 6:07 |
| 4. | "Decades" | 6:10 |
- Ian Curtis – lead vocals
- Bernard Sumner – guitar
- Peter Hook – bass guitar
- Stephen Morris – drums
Wikipedia
AllMusic:
 |
| Still (Oct 1981) |
Compilation album of previously unreleased tracks and a live recording from Birmingham university. A later release added a live recording from High Wycombe.
| Released | 8 October 1981 |
|---|---|
| Recorded | October 1978 – May 1980 |
| Genre | Post-punk |
| Length | 83:25 |
| Label | Factory - FACT40 |
| Producer | Martin Hannett |
| No. | Title | Length |
|---|---|---|
| 1. | "Exercise One" (recorded in April 1979 at Strawberry Studios, Stockport during sessions for Unknown Pleasures) | 3:06 |
| 2. | "Ice Age" (recorded in October–November 1979 at Cargo Studios, Rochdale during sessions for the "Licht und Blindheit" single) | 2:24 |
| 3. | "The Sound of Music" (recorded in January 1980 at Pennine Sound Studios, Oldham during sessions for the "Love Will Tear Us Apart" single) | 3:55 |
| 4. | "Glass" (recorded in October 1978 at Cargo Studios, Rochdale; originally released on A Factory Sample) | 3:56 |
| 5. | "The Only Mistake" (recorded in April 1979 at Strawberry Studios, Stockport during sessions for Unknown Pleasures) | 4:17 |
| No. | Title | Length |
|---|---|---|
| 6. | "Walked in Line" (recorded in April 1979 at Strawberry Studios, Stockport during sessions for Unknown Pleasures) | 2:47 |
| 7. | "The Kill" (recorded in April 1979 at Strawberry Studios, Stockport during sessions for Unknown Pleasures) | 2:15 |
| 8. | "Something Must Break" (recorded in July 1979 at Strawberry Studios, Stockport during sessions for the "Transmission" single) | 2:48 |
| 9. | "Dead Souls" (recorded in October–November 1979 at Cargo Studios, Rochdale. Originally released as the b-side of the "Licht und Blindheit" single) | 4:53 |
| 10. | "Sister Ray" (The Velvet Underground cover; recorded live at the Moonlight Club, London on 2 April 1980) | 7:36 |
| No. | Title | Length |
|---|---|---|
| 11. | "Ceremony" (recorded live at High Hall, Birmingham University on 2 May 1980) | 3:50 |
| 12. | "Shadowplay" (recorded live at High Hall, Birmingham University on 2 May 1980) | 3:57 |
| 13. | "Means to an End" (recorded live at High Hall, Birmingham University on 2 May 1980) | 4:01 |
| 14. | "Passover" (recorded live at High Hall, Birmingham University on 2 May 1980) | 5:10 |
| 15. | "New Dawn Fades" (recorded live at High Hall, Birmingham University on 2 May 1980) | 4:01 |
| 16. | "Twenty Four Hours" (recorded live at High Hall, Birmingham University on 2 May 1980; extra track on original vinyl and cassette versions only) | 4:26 |
| No. | Title | Length |
|---|---|---|
| 17. | "Transmission" (recorded live at High Hall, Birmingham University on 2 May 1980) | 3:40 |
| 18. | "Disorder" (recorded live at High Hall, Birmingham University on 2 May 1980) | 3:24 |
| 19. | "Isolation" (recorded live at High Hall, Birmingham University on 2 May 1980) | 3:05 |
| 20. | "Decades" (recorded live at High Hall, Birmingham University on 2 May 1980) | 5:47 |
| 21. | "Digital" (recorded live at High Hall, Birmingham University on 2 May 1980) | 3:52 |
| No. | Title | Length |
|---|---|---|
| 1. | "The Sound of Music" (recorded live at High Wycombe Town Hall on 20 February 1980) | 4:19 |
| 2. | "A Means to an End" (recorded live at High Wycombe Town Hall on 20 February 1980) | 3:57 |
| 3. | "Colony" (recorded live at High Wycombe Town Hall on 20 February 1980) | 4:06 |
| 4. | "Twenty Four Hours" (recorded live at High Wycombe Town Hall on 20 February 1980) | 4:20 |
| 5. | "Isolation" (recorded live at High Wycombe Town Hall on 20 February 1980) | 2:49 |
| 6. | "Love Will Tear Us Apart" (recorded live at High Wycombe Town Hall on 20 February 1980) | 3:14 |
| 7. | "Disorder" (recorded live at High Wycombe Town Hall on 20 February 1980) | 3:13 |
| 8. | "Atrocity Exhibition" (recorded live at High Wycombe Town Hall on 20 February 1980) | 5:58 |
| 9. | "Isolation" (soundcheck: recorded live at High Wycombe Town Hall on 20 February 1980) | 3:00 |
| 10. | "The Eternal" (soundcheck: recorded live at High Wycombe Town Hall on 20 February 1980) | 3:36 |
| 11. | "Ice Age" (soundcheck: recorded live at High Wycombe Town Hall on 20 February 1980) | 3:16 |
| 12. | "Disorder" (soundcheck: recorded live at High Wycombe Town Hall on 20 February 1980) | 3:14 |
| 13. | "The Sound of Music" (soundcheck: recorded live at High Wycombe Town Hall on 20 February 1980) | 4:05 |
| 14. | "A Means to an End" (soundcheck: recorded live at High Wycombe Town Hall on 20 February 1980) | 3:45 |
- Ian Curtis – lead vocals
- Bernard Sumner – guitar
- Peter Hook – bass guitar
- Stephen Morris – drums
 |
| Movement (1981) |
| Released | 13 November 1981 |
|---|---|
| Recorded | 24 April–4 May 1981 |
| Studio | Strawberry, Stockport |
| Genre | |
| Length | 35:20 |
| Label | Factory |
| Producer | Martin Hannett |
| No. | Title | Length |
|---|---|---|
| 1. | "Dreams Never End" | 3:13 |
| 2. | "Truth" | 4:37 |
| 3. | "Senses" | 4:45 |
| 4. | "Chosen Time" | 4:07 |
| 5. | "ICB" | 4:33 |
| 6. | "The Him" | 5:29 |
| 7. | "Doubts Even Here" | 4:16 |
| 8. | "Denial" | 4:20 |
- Bernard Sumner – vocals, guitars, melodica, synthesizers and programming
- Peter Hook – 4- and 6-stringed bass, vocals ("Dreams Never End" and "Doubts Even Here")
- Gillian Gilbert – synthesizers and programming, guitars, spoken words ("Doubts Even Here")
- Stephen Morris – drums, synthesizers and programming
 |
| Power, Corruption & Lies (May 1983) |
Power, Corruption & Lies (PCL) has a similar sound, mood and energy to those other guitar/synthpop albums. The prominent use of the bass to counterpoint the synths, drive the rhythm, and provide focus was popular among guitar/synth bands going back to the success of "Vienna" by Ultravox in 1980. Where it perhaps stands out from earlier guitar/synth albums is in its sheer poppiness, which despite the simplicity of the songs, refrains from slipping into banality by the retention of some of the atmospheric feel of Joy Division. The opening track "Age of Consent" is a bright, breezy bit of fresh air - very poppy - quite simple, but driving forward with a confident energy. Sumner's voice is not attractive, not soulful, not interesting, and he struggles to sing - either hitting (or stumbling over) the notes in a simplistic way or attempting to say the awkward lines in a hurried melodic speaking voice over the backing music. Those who like the album like the way that Sumner sings
| Released | 2 May 1983 |
|---|---|
| Recorded | October–November 1982 |
| Studio | Britannia Row, Islington |
| Genre | |
| Length | 42:35 |
| Label | Factory |
| Producer | New Order |
| No. | Title | Length |
|---|---|---|
| 1. | "Age of Consent" | 5:16 |
| 2. | "We All Stand" | 5:14 |
| 3. | "The Village" | 4:37 |
| 4. | "5 8 6" | 7:31 |
| No. | Title | Length |
|---|---|---|
| 1. | "Your Silent Face" | 6:00 |
| 2. | "Ultraviolence" | 4:52 |
| 3. | "Ecstasy" | 4:25 |
| 4. | "Leave Me Alone" | 4:40 |
- Bernard Sumner – vocals, guitars, melodica, synthesizers and programming
- Peter Hook – bass and electronic percussion
- Gillian Gilbert – synthesizers, guitars and programming
- Stephen Morris – drums, synthesizers and programming
Score:
 |
| Low-Life (1985) |
| Released | 13 May 1985 |
|---|---|
| Recorded | 1984 |
| Studio | Jam and Britannia Row, London |
| Genre | |
| Length | 40:05 |
| Label | Factory |
| Producer | New Order |
| No. | Title | Length |
|---|---|---|
| 1. | "Love Vigilantes" | 4:16 |
| 2. | "The Perfect Kiss" | 4:51 |
| 3. | "This Time of Night" | 4:45 |
| 4. | "Sunrise" | 6:01 |
| No. | Title | Length |
|---|---|---|
| 1. | "Elegia" | 4:56 |
| 2. | "Sooner Than You Think" | 5:12 |
| 3. | "Sub-culture" | 4:58 |
| 4. | "Face Up" | 5:02 |
- Bernard Sumner – vocals, guitars, melodica, synthesizers and programming
- Peter Hook – bass and electronic percussion
- Gillian Gilbert – synthesizers, guitars and programming
- Stephen Morris – drums, synthesizers and programming
| Released | 29 September 1986 |
|---|---|
| Recorded | 1986 |
| Studio |
|
| Genre | |
| Length | 37:07 |
| Label | Factory |
| Producer | New Order |
| No. | Title | Length |
|---|---|---|
| 1. | "Paradise" | 3:50 |
| 2. | "Weirdo" | 3:52 |
| 3. | "As It Is When It Was" | 3:46 |
| 4. | "Broken Promise" | 3:47 |
| 5. | "Way of Life" | 4:06 |
| No. | Title | Length |
|---|---|---|
| 6. | "Bizarre Love Triangle" | 4:22 |
| 7. | "All Day Long" | 5:12 |
| 8. | "Angel Dust" | 3:44 |
| 9. | "Every Little Counts" | 4:28 |
| Released | 30 January 1989 |
|---|---|
| Recorded | 1988 |
| Studio |
|
| Genre | |
| Length | 39:32 |
| Label | Factory |
| Producer | New Order |
| No. | Title | Length |
|---|---|---|
| 1. | "Fine Time" | 4:42 |
| 2. | "All the Way" | 3:22 |
| 3. | "Love Less" | 2:58 |
| 4. | "Round & Round" | 4:29 |
| 5. | "Guilty Partner" | 4:44 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Run" | John Denver, Sumner, Gilbert, Hook, Morris | 4:29 |
| 2. | "Mr. Disco" | 4:20 | |
| 3. | "Vanishing Point" | 5:15 | |
| 4. | "Dream Attack" | 5:13 |
- Bernard Sumner – vocals, guitars, melodica, synthesizers
- Peter Hook – bass and electronic percussion
- Gillian Gilbert – synthesizers, guitars
- Stephen Morris – drums, synthesizers
 |
| Revenge - One True Passion (1990) |
Around 1989 band members began working on side-projects. Bernard Sumner had success with Electronic, though Peter Hook's Revenge didn't quite take off. This is sort of sub-New Order. There's really nothing interesting here.
Wikipedia
 |
| Get The Message The Best Of Electronic (2006) |
Bernard Sumner recorded several albums with Johnny Marr under the name Electronic. Their first recording is their most accomplished and successful, the single "Getting Away With It" (1989), a collaboration with Neil Tennant of Pet Shop Boys. The resulting single sounds like the Pet Shop Boys, though has elements of ABC and New Order. It's a decent pop single. This album is a best of compilation of the band's work from 1988 to 2001, when they broke up. Over time Marr's contributions became more noticable, and the band ceased to be synth-pop drizzle, and started to sizzle as a sub-Britpop rock band, with some decent guitar work. "Prodigal Son" is a good example of the later work. On the whole, while the later work is listenable, this doesn't lift enough to be more than a footnote to New Order's history.
- Movement (1981)
- Power, Corruption & Lies (1983)
- Low-Life (1985)
- Brotherhood (1986)
- Technique (1989)
- Republic (1993)
- Get Ready (2001)
- Waiting for the Sirens' Call (2005)
- Lost Sirens (2013)
- Music Complete (2015)
* The Guardian -introduction and overview of New Order
Summary
New Order 1980 - 1993; Reformed 1998
Band:
Hit singles "Blue Monday" (1983) to "True Faith" (1987)
+ New Order - Power, Corruption And Lies (1983) Not my sort of band - and I think they had the wrong sort of influence on the 80s, but they did have an influence, and were highly, highly regarded for a while (though their standing is fading). This is the album that made them big, and is generally regarded as their most important album.
Joy Division
- Unknown Pleasures (1979)
- Closer (1980)
New Order
- Movement (1981)
- Power, Corruption & Lies (1983)
- Low-Life (1985)
- Brotherhood (1986)
- Technique (1989)
- Republic (1993)
- Get Ready (2001)
- Waiting for the Sirens' Call (2005)
- Lost Sirens (2013)
- Music Complete (2015)
Albums ranked
* NME
* Diffuser
* BEA
* Far Out
* TheModerns
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