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‘Ceremony’: Peter Hook reanimates New Order’s classic first single
11:36 am


Joy Division
New Order
Peter Hook

I’d hardly be the first to observe that “Ceremony” is THE emblematic song of Joy Division’s sometimes shaky transition to New Order after the suicide of JD singer Ian Curtis. It was a JD song that, tragically, was never properly recorded during the singer’s lifetime; only the live version on Still—from which half the vocals are absent—and a really crummy rehearsal tape are known to have survived, but the song became New Order’s first single.

While that single is imperfect, it preserves a magnificent song that could have ended up lost. The instrumental performances and production are excellent, but vocals were handled by guitarist Bernard Sumner, who’d go on to become the band’s main singer. His tentative, mannered, flat-affect singing style was a good fit for NO’s later work, but his rookie effort couldn’t approach Ian Curtis’ expressive depth, and so lines like “I’ll break them all/No mercy shown” land weightlessly. The song’s excellence still being amply evident, it went on to become one of the most-covered songs the band ever released, and it’s a badge for their determination to persevere in the face of tragedy, however wobbly their very public march towards their own post-Curtis identity was.

In recent years, estranged from his former New Order bandmates, JD/NO’s Peter Hook, the architect of a post-punk bass style so singular and genre-defining it’s still being copied 40 years later, has eschewed original music for a while to devote himself to the project of reanimating his bands’ earliest works. He formed Peter Hook and the Light with members purloined from his prior band Monaco, and they’ve spent the last several years producing concerts in which they’ll play an early JD or NO album in its entirety. They’re currently on tour performing both bands’ ‘80s best-of compilations, both titled Substance. (That tour’s schedule is why multiple attempts to interview Hook for this post fell through, to my lasting regret—his is a brain I’d love to pick.)

Doing the best-ofs sounds almost like an endcap to the project, as does the series of releases Hook is issuing this year, documenting live versions of Joy Divisions’ Unknown Pleasures and Closer, and New Order’s Movement and Power, Corruption, and Lies, but audiences are reportedly LOVING the shows, so while it’s a shame that Hook is no longer pursuing original music (all the more a shame given how very so-so the Hookless New Order album Music Complete was), who’s to say they shouldn’t/won’t continue?

On the album honoring Movement Peter Hook and the Light included the non-LP “Ceremony,” and it’s quite a good version. Hook’s vocals are far rougher than Sumner’s, which is surely why Sumner became the default singer as the band solidified it’s slick, synth-based identity, but Hook’s rawness better conveys the emotive strength of Ian Curtis’ lyrics. I’d stop WAY short of calling this version definitive, but it’s good to have available a well-recorded version other than Sumner’s.

Joy Division debuted the song at what ended up being their final concert (the one released on Still), and the only other recording ever made was the crummy-sounding rehearsal tape released on Heart and Soul, made four days before Curtis’ death. In his book Unknown Pleasures: Inside Joy Division, Hook talks about where “Ceremony” fit in when the band decided to carry on:

The only thing we took from Joy Division—the only two things, actually—were the songs Ian had left us: “Ceremony” and “In a Lonely Place.” To one another we said, “See you on Monday,” and that was it. Me, Barney, and Steve got together on the Monday to work on the songs. I took the riff for “Dreams Never End” into rehearsal. It was weird because I was looking for Ian to tell me if it was any good or not. Realizing that we’d lost our spotter, our mentor. Realizing that suddenly we had to find a new way of working that didn’t rely on him. We had to learn to record everything, play it back, and pick out the good bits ourselves.

In Substance: Inside New Order, Hook details the how the recording of the “Ceremony” single with Martin Hannett solidified New Order’s division (sorry) of labor:

Despite the fact that Steve, to say the least, wasn’t keen on singing, he still tried out, and so did me and Barney. I think secretly both of us fancied being the frontman. But we were all shit according to Martin. At one point in Strawberry Studios we were recording “Ceremony” and Martin had decided to use all three of our vocals mixed together in the track at the same time. ‘The best of a bad bunch!’ he cried. Then he started cackling. But then Bernard insisted on having ‘just one more go’, and in doing so used up mine and Steve’s tracks, wiping them, so by the Time Martin finally threw up his hands and told us to fuck off, Barney’s was the only vocal left on tape. Which is pretty much how he became our singer.

Dangerous Minds is proud to premiere the stream of Peter Hook and the Light’s soon to be released version of “Ceremony,” after the jump…

Posted by Ron Kretsch | Leave a comment
24 Hour Party People: New Order’s tongue-in-cheek 1984 TV documentary for ‘Play at Home’
05:48 pm


New Order

In the early to mid-1980s, Channel 4 in the U.K. had a series called Play at Home in which various bands were given an hour to do with as they pleased. Someone at Channel 4 had good taste: among the bands that participated were Big Country, the Angelic Upstarts, XTC, Siouxsie and the Banshees, and Echo and the Bunnymen. The entry from Siouxsie was utterly singular, but the 1984 submission from New Order was unexpectedly fascinating and weird as well.

For one thing, there’s a high quotient of humor in this thing, some of it quite sophomoric—not exactly the headspace I was expecting New Order to put me in. The opening sequence (executed in part by Peter Saville) resembles one of the mock-lofty moments from Monty Python’s Flying Circus (the example in my mind is “The Semaphore Version of Wuthering Heights” for some reason but Python did plenty of voiceover-heavy exterior bits). With the camera trained on a comely bit of landscape, a stentorian voice intones, “Factory Records: a Partnership, a Business, a Joke.” In short order the authority of that voice dissipates as it reads the “cast of characters” in a ridiculous and rapid register.

The star of the proceedings is really Tony Wilson, which makes this movie an interesting companion piece to 24 Hour Party People, which also centered on Wilson (as embodied by Steve Coogan). Wilson spends much of the documentary in a bathtub (naked), and one of the first things that happens is that Gillian Gilbert jumps into the bathtub (clothed) and starts to interview him.

Gillian Gilbert and Tony Wilson
One of the most memorable moments is a bird’s-eye shot of the two of them in the tub, Wilson’s hands placed strategically over his privates, as he attempts to answer Gilbert’s question, which happens to be “Are you a capitalist?” That question, and the related question of Wilson’s financial relationship to the band, provides the seething subtext of hostility that percolates throughout the movie. At one point Wilson prefaces some banal point by saying “As Trotsky once said….” and sure enough, the band uses that line against Wilson elsewhere in the movie.

There’s a wonderful line uttered by Richard Boon in the context of the shortcomings of The Haçienda nightclub—co-owned by the group, their manager and Wilson—namely that it’s too well lit, doesn’t have a back room, and therefore lacks dark corners where a patron can go and hide:

“There’s got to be some sex and some threat.”

Watch after the jump…

Posted by Martin Schneider | Leave a comment
Between Joy Division and ‘Blue Monday’: New Order live in the East Village, NYC, 1981
12:33 pm


Joy Division
New Order

New Order, NYC, 1981 by Eugene Mironov
Before they recorded their classic 1983 album Power Corruption & Lies, New Order made an extended trip to New York and absorbed some of the city’s more upbeat sounds into their own morose and world-weary music. Latin salsa, 12” remix culture and the electronic beats they heard in nightclubs like Danceteria and the Roxy were obvious inspirations for the music they would soon come to make.

But at the time this was videotaped—live at the Ukrainian National Home in New York’s East Village on November 18, 1981—New Order were still largely Joy Division minus Ian Curtis, a post punk band, not the electronic dance quartet they would soon become. It’s a fascinating document of the group during what is perhaps the least documented era of their long career. As I would personally chose Movement over anything else in their catalog, this was a real treat to watch.

Low lights, the intense musicians saying almost nothing to the audience, a concert held in a hot sweaty dance hall—there’s an extremely underground quality to this show.

Tim Sommers reviewed the gig in the Sounds newspaper:

Standing around the Ukrainian National Home on Manhattan’s lower Second Avenue puts me in a sour mood. This is a prestigious gig in an odd venue, and the audience, like the hall, is truly pretentious in its self-conscious unpretentiousness. The place is full of the cream of New York’s pseudo-Continentals, the transparent and ridiculous ‘80’s would-be bohemians with their long dark coats, scarves and faces. Unfortunately, very much the crowd you would expect for New Order. The evening’s whole mood has been strongly anti-rock, so it’s refreshing and pleasantly surprising when New Order’s set begins brightly, with real strength and power.

“Truly pretentious in its self-conscious unpretentiousness”?

New Order? The group who parodied a poster by Italian Futurist Fortunato Depero pretentious?
More after the jump…

Posted by Richard Metzger | Leave a comment
Orkestra Obsolete performs New Order’s ‘Blue Monday,’ 1930s style
09:50 am


New Order
Blue Monday

Perhaps I’m a little late to the party with this one—so if you’ve already heard it keep on scrolling. Two days ago, the BBC released a cover version of New Order’s “Blue Monday” done in a 1930s style. The cover was done in celebration of the March 7, 1983 release of the song. This version of “Blue Monday,” performed by Orkestra Obsolete, used only instruments that were actually available in the 1930s, such as the theremin, musical saw, prepared piano and more. It’s actually a pretty good cover and works great, in my opinion.

For more information about the project go to the BBC Arts site. 


Posted by Tara McGinley | Leave a comment
New Order’s ‘Blue Monday’ Sunkist commercial
08:45 am


New Order

Around 1988, Sunkist offered New Order £100,000 to record a special version of “Blue Monday” for a TV spot. The ad campaign proposed new lyrics for the biggest-selling twelve-inch single of all time:

How does it feel
when a new day has begun?
When you’re drinking in the sunshine
Sunkist is the one

When you need a taste for living
Sunkist is the one

As you will hear below, Barney and Hooky did stop laughing long enough to get a deadpan reading of this ad copy on tape. However, according to the band, manager Rob Gretton nixed the deal before it could go any further. A mock-up of the ad eventually came out on the band’s NewOrder Story©, a home video documentary released the same year as the Republic© album (1993). It’s an entertaining program, though my doctor has advised me never to watch it again because of the effect Bono’s contributions have on my nervous condition.

Bernard Sumner talked about the ad in a 1999 Q&A with fans. One Peter Rees of Shrewsbury asked what the lyrics were supposed to have been, and Barney did his best to remember:

“How does it feel/When you’re drinking in the sun? Something something/Sunkist is the one/How does it feel/When you’re drinking in the sun/All you’ve got to believe/Is Sunkist is the one.” I didn’t write them. We got offered £100,000 to do it. I kept laughing when I was singing it, so Hooky got a piece of card and wrote “£100,000” on it, held it up, and I sang it perfectly. But then Rob Gretton turned up and he put the kibosh on it. There’s a remix of Blue Monday by Steve “Silk” Hurley and it’s got the Sunkist lyrics on it.

And Peter Hook discussed the commercial in a contemporary interview with SPIN:

Is it true that the band did a commercial for Sunkist?

“They asked us to try it. So we tried it and it sounded so bad that we couldn’t let them have it. They originally told us they wanted to use ‘Blue Monday’ and we thought, ‘Fine. Great.’ So then they said, ‘Right, when are you gonna do this voice over?’ Voice over? We tried singing the changed lyrics and we started rolling around on the floor. They were offering us a fortune, but the cringe part of it was too heavy.”

What were the changed lyrics?

“Sunkist is the one,” Hook says through clenched teeth. “Oh, never mind.”

In the clip from NewOrder Story© below, Sumner reminisces about the failed deal and the ad mock-up shows what might have been. It pairs the “Blue Monday” soda jingle with footage from Sunkist’s early 90s “Drink in the Sun” campaign (“the sun comes up with an orange grin,” barf) and New Order’s wonderful “Touched by the Hand of God” video. The beach-babe imagery is of a piece with the Baywatch video for “Regret.”

Posted by Oliver Hall | Leave a comment
Dean Wareham covers Joy Division/New Order’s ‘Ceremony’ live on KEXP

If not for Galaxie 500’s version of “Ceremony,” I probably wouldn’t like that song all that much.

OK, so while the commenters busy themselves sharpening their claws and crayons to inform me that I’m an idiot who knows nothing of music and should immediately be fired, let’s talk about the song. “Ceremony” was an ill-starred entry into the later Joy Division catalog. No proper studio recording was ever made, so the version most fans know best is the live version on the posthumous JD release Still, from which about half the vocals are AWOL. A different version, culled from a rehearsal tape, appeared on the boxed set Heart & Soul. The vocals are all present, but are largely unintelligible, and there’d never be another chance to get it right, as the group’s singer Ian Curtis took his own life days after that tape was made. I’ve heard that another live version exists, a crummy bootleg of a soundcheck,  but I’m aware of no extant version with Curtis’ vocals clear and complete. (If I’m wrong on that, for the love of all that matters in this shitsack world, post a link, PLEASE.)

Joy Division, ”Ceremony,” version from Still

Joy Division, ”Ceremony,” version from Heart and Soul
The ceremony continues after the jump.

Posted by Ron Kretsch | Leave a comment
Iggy Pop belts out two immortal Joy Division songs at Tuesday’s Tibet House benefit
08:44 am


Iggy Pop
Joy Division
New Order

Iggy Pop and New Order
The lineup that the Tibet House US put together for the 24th Annual Tibet House US Benefit Concert at Carnegie Hall two nights ago was the kind of collection of noteworthy musical talents that was guaranteed to make a certain kind of discerning fan of rock music quiver with excitement. The program promised the following enticements:

Philip Glass
Nico Muhly
Matt Berning, Aaron Dessner, & Bryce Dessner of The National
Bernard Sumner, Phil Cunningham, & Tom Chapman of New Order
Iggy Pop
Robert Randolph
Patti Smith and her Band

With an invocation and closing by
Monks from the Drepung Gomang Monasteries

The evening would prove to have an impressive number of impromptu guests and collaborations not depicted here, including the surprise appearance of Sufjan Stevens, who sat in with The National; Nico Muhly playing together with Philip Glass; and a special gesture of tribute to recently departed Lou Reed from Patti Smith, who covered Reed’s classic “Perfect Day.”

But most exciting of all, perhaps, was Iggy Pop teaming up with three of the members of New Order (no Peter Hook, of course; Sumner was the only original member present) to play two of Joy Division’s most enduring songs, “Transmission” and “Love Will Tear Us Apart.” As all dedicated Joy Division fans know, when Ian Curtis hanged himself on May 18, 1980, Iggy’s 1977 album The Idiot was spinning on the turntable just a few feet away.
Iggy Pop and New Order
Earlier in the evening, Sufjan Stevens joined The National for “I Need My Girl” and “This is the Last Time” off of 2013’s Trouble Will Find Me and “Vanderlyle Crybaby Geeks” off of their 2010 album High Violet (video for which can be found here; scroll down) before Sufjan played two songs from The Planetarium, the somewhat proggy collaboration involving Muhly and the National’s Bryce Dessner from 2013. Then Nico Muhly and Philip Glass joined forces for “The Chase,” a track off of Glass’s 2004 soundtrack for Undertow.

When New Order’s time to perform arrived, they played “St. Anthony” before introducing Iggy, who joined the band for “Californian Grass,” off of New Order’s 2013 album Lost Sirens; Sumner said that the band had never played the song live before. The next two songs were the immortal Joy Division numbers “Transmission” and “Love Will Tear Us Apart.”

What follows are fan videos, but both the video and the audio are in fairly good shape. 

“Californian Grass”


“Love Will Tear Us Apart” after the jump…

Posted by Martin Schneider | Leave a comment
The ‘rare’ ‘David Bowie’ Joy Division cover that hoaxed the Internet
11:25 pm


David Bowie
Joy Division
New Order

Perhaps you noticed a number of your friends posting—and then deleting—a “rare” cover version of “Love Will Tear Us Apart” on their Facebook walls today. The track in question was supposedly recorded by David Bowie and members of New Order.

Here’s what it said on YouTube:

A chance meeting in 1983 had David Bowie, Bernard Sumner and Peter Hook chatting away over beers in the Kings Arms in Salford. “...So we were all there just having a laugh and we joked that he should come n have a jam with us, then next minute - well, it was the next day actually, but i didn’t expect he’d definitely come by - and we were in the practice rooms and we were playing Love Will Tear Us Apart and i was like, f%$K we’re playing Love Will Tear Us Apart with David Bowie singing, this is crazy. We never released it - Bowie took a recording of it, and just layered some more vocals on for fun, sent it back to me…” - Bernard Sumner.

Yeah, right.

Was this the handiwork of Tim Heidecker?

Was Adam Buxton responsible, perhaps?

Until the perpetrator steps forward we may never know who was behind this clever prank, but Joy Division’s Peter Hook has weighed in on Twitter to say that… it’s a fake (as if that already wasn’t already totally obvious to anyone with ears, although I did appreciate the low-fi “bootleg” sound quality, which lent an air of authenticity to the proceedings. Extra points for that).


Posted by Richard Metzger | Leave a comment
New Order (and some less famous Factory-related groups) in ‘Umbrellas in the Sun’
02:40 pm


New Order
Factory Records
Crispy Ambulance

Crispy Ambulance looking all angsty and artsy

Here’s a little something you don’t see every day, a compilation of original video by bands associated with the “lesser” Factory-related record labels operating out of Brussels Belgium. It’s called Umbrellas in the Sun and consists of seldom-seen videos from more well-known Factory acts like A Certain Ratio, Durutti Column, Section 25 and even New Order, along with more more obscure groups like Crispy Ambulance, Josef K., The Names, Quando Quango and plenty of others.

The two Belgium-based labels, Factory Benelux and Disques de Crepescule, were founded by Michel Duval and Annik Honoré (if this latter name sounds familiar it should, as she was with Ian Curtis during the last years of his life), and featured music that didn’t exactly fit Factory’s profile or release schedule. Although practically anything that showed up on these labels was (at least!) kinda quirky, some of it was as good if not better than some of what was on Factory Records proper.

For instance, The Plateau Phase by Crispy Ambulance, was both too far out as well as perhaps too… proggy (?) for Factory, nevertheless it still sounds fantastic. Hell, this being the Internet, I can even pass you a toke (here’s “Travel Time” off that record):

In 2005, fellow Factory nut James Nice put out Umbrellas in the Sun on the LTM label. Here’s a chunk of that DVD featuring all sorts of exotic post-punk treats filmed between 1980 & 1985. Ah yes, another fine example of the Internet practically vomiting diamonds into our cupped hands. Feel free to slide them down your own gullet, though do be prepared for the fact that much of it will scratch and burn on the way down.

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Does this obscure record sound like New Order’s ‘Blue Monday’ to you?

Here’s something to mull over music nerds: Did New Order blatantly cop the groove for “Blue Monday” from obscure minimalist Manchester new wave novelty act, Gerry & the Holograms?

Or what?

Championed by Frank Zappa during a 1980 BBC Radio 1 guest disc jockey stint (as well as 1979 radio spot on WPIX in New York and The Dick Cavett Show), Gerry & the Holograms (who consisted of a guy named John Scott, and CP Lee of Manchester-based 70s comedy-rock group, Alberto y Lost Trios Paranoias) put out this Residents-influenced piss-take on the synthpop bands that would have been emerging then, like Soft Cell or The Human League.

Zappa referred to Gerry & the Holograms as “the hottest thing to come out of Manchester in at least 15 minutes.” The duo’s second record, “The Emperor’s New Music” came glued to the picture sleeve.

Gerry & the Holograms was later remixed by Diplo, in a manner, that somewhat amplifies the question about the “inspiration” behind a certain massive-selling worldwide dancefloor hit of 1983.

Coincidence? You decide!

Thanks Nico!

Posted by Richard Metzger | Leave a comment
60-piece male voice choir covers ‘Blue Monday’

I know it’s Thursday, but every day could do with a rendition of New Order’s “Blue Monday” at some point.

As if the electro-pop classic wasn’t epic and brooding enough, here it is performed by the 60-piece Brythoniad Male Voice Choir, commissioned for the UK’s Festival Number 6.

To celebrate New Order headlining the first year of the UK’s newest festival, the Brythoniad Male Voice Choir were commissioned by Festival No.6 to record their own unique version of Blue Monday.

The 60 members of the Brythoniad Male Voice Choir, formed in 1964 in Blaenau Ffestiniog, recorded their interpretation of the seminal track in the studio, then filmed the video on location at the stunning Portmeirion, location for Festival No.6 .

Surely the most unique setting for a festival the UK has ever seen?

There is more information on Festival Number 6, headlined by New Order, Primal Scream and Spiritualized and taking place in Portmerion, Wales on the 14th, 15th and 16th of September, on the festival’s website.

Brythoniad Male Voice Choir “Blue Monday”

Posted by Niall O'Conghaile | Leave a comment
Joyce D’Vision ‘She’s Lost Control’ - what would Ian Curtis think?

You may remember a few months ago I posted about Joyce D’Vision, the world’s first drag queen tribute band to Joy Division (of which I am a member) and our adventures on UK primetime TV with the comedian Harry Hill.

Well, we have finally managed to wrangle Joyce herself into the studio to record some vocals, and the first fruits of this labor are cover versions of “She’s Lost Control” and “Isolation.” Both are iconic, classic tracks, that have been covered before (by Siobhán Fahey, Grace Jones and Wino & Conny Ochs, as featured in yesterday’s Roadburn post) but I like to think we have put our own unique spin on them.

While some people find the idea of Joyce D’Vision highly offensive, to me it’s as Northern English as Eccles cakes and Boddington’s bitter. People in Manchester have a sly, sometimes wicked sense of humor, and they are not above taking the complete mickey out of themselves and the stultifying, retro-based “Madchester” culture industry that seems to have a stranglehold on this town (check the blog Fuc251 for proof.) Unfortunately Joy Division are very much a part of this frozen-in-amber, Manchester music-heritage industry, which goes against the iconoclasm inherent in the band, and is ironic as they were sorely under-appreciated in this town when they did exist. 

And that’s where we come in. It’s all in the best possible taste, darling, with hints of Vic & Bob, The League of Gentlemen, Kenny Everett and Frank Sidebottom (a legendary Manc comic who famously covered “Love Will Tear Us Apart” on a Casio). We’re not doing this because we hate Joy Division, in fact it’s quite the opposite. Joy Division have helped us get through as much teen angst as the next wrist cutter, but the band’s hallowed status doesn’t mean they are above a bit of fun poking. Every religion needs its satirists. Because let’s face it, if what we’re doing is somehow ruining your teen dreams or memories of a JD goth paradise, then those dreams and memories were not very solid in the first place.

I am well aware of Ian Curtis’ mental health problems (duh!) and I’m 100% convinced he had that same sly, piss-taking, Manc sense of humor as everyone else who grew up within the city’s grey-and-redbrick confines. I think he would have had a giggle or two at a bearded drag queen singing his songs.
Joyce D’Vision with Harry Hill on the set of TV Burp
But more to the actual point, I wonder what Peter Hook thinks?

If you’re not aware, original JD/New Order bassist Hook has formed a new band with jobbing Manchester musicians called The Light, whose purpose is to cover the work of Joy Division. He’s the only original member, and now the band are embarking on a tour playing “Unknown Pleasures” in full.

Originally Hooky himself was on vocal duties, but after he shamefully forgot the words at an infamous Manchester show a couple of years ago, he has brought in Rowetta (ex-Happy Mondays and Britain’s Got Talent) to sing instead. Not to mention some of his celebrity-fan pals when they have the chance - The Light have performed JD tracks with Billy Corgan, Moby and Perry Farrell on vocals, among others. They sing from a lyrics book open at the front of the stage.

So is what we are doing with Joyce D’Vision really any worse than what Peter Hook is doing with The Light? In a sense, both are karaoke, but only one has an actual on-stage lyrics sheet. And it’s not the band with the drag queens. Which of the two acts, Joyce D’Vision or The Light, are going to do more to shatter your teen-goth memories of Joy Division?

I don’t doubt that The Light has got something to do with New Order reforming recently without Hook and his iconic bass sound, a massive “fuck you” statement in his general direction. A lot of people in Manchester are happy they did this, but there’s also many people wondering if New Order can properly function without Hook on bass. I’m not sure, but either way, I do wonder now what Barney and Steve (original JD members, remember) and Gillian (a HUGE drag inspiration for our band) make of Joyce D’Vision?

Time will tell. For now, here are our first two tracks:
Joyce D’Vision “She’s Lost Control”


Joyce D’Vision “Isolation”


You can make friends with Joyce D’Vision on Facebook.


Posted by Niall O'Conghaile | Leave a comment
‘The Tube’ 1983 NY clubbing special ft New Order, Klaus Nomi, Paradise Garage & more

The Tube was an early-to-mid 80s British “yoof” TV program covering music and fashion, hosted by Jools Holland and Paula Yates. This special report comes from sometime around 1983 (the date is unspecified but we know that Klaus Nomi has already died) when Holland and guest presenter Leslie Ash take a trip around New York’s most happening night spots. That includes the Paradise Garage, Danceteria, The Roxy and even a brief, passing glimpse of CBGBs.

If you can ignore the cheesy presenting style (“Wow! Clubs in New York stay open until FOUR o’clock!”, “I hear this club has a “happening” sound system.” etc) there are some great interviews here, as well as some priceless footage inside the clubs mentioned. So we get the likes of Arthur Baker talking about producing New Order, Nona Hendryx and Quando Quango performing live, Afrika Bambaataa on the turntables at The Roxy,  The Peech Boys backstage at the Paradise Garage, and Ruth Polsky and Rudolph of Danceteria talking about their good friend, the recently deceased Klaus Nomi: 

Thanks to Andrew Pirie.

Posted by Niall O'Conghaile | Leave a comment
Listen to the unreleased New Order track ‘Hellbent’

Taken from the upcoming New Order/Joy Division greatest hits album “Total,” this rocky track has been played on Irish radio and since found its way onto the web. This brings up two questions in my mind - how can this be described as a “leak” if it has been played (presumably officially) on the radio? And why the hell do these two different bands need a combined “best of”?

Hellbent - New Order by oldwaver
Thanks to Jeb Edwards.

Posted by Niall O'Conghaile | Leave a comment
Bernard Sumner sings lovely acoustic version of ‘Bizarre Love Triangle’
01:46 pm


New Order
Bizarre Love Triangle
Bernard Sumner

Saturday gorgeousness.

(via Laughing Squid)

Posted by Tara McGinley | Leave a comment
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