Th A kihianDailv - Thursdav, August 11. 1983 -Pnn 11
Records
New Order: 'Power Corruption
and Lies' (Rough Trade)
New Order's name has been
synonymous with dark and forboding
yet excellent music. From the time of
Ian Curits' suicide (lead vocalist with
Joy Division) they have wrestled with
the depressing aspects of love and
everyday life. With Power, Corruption
and Lies New Order sheds the ghosts of
Joy Division's past leaves the dark side
and steps into the light.
The album opens with a bang. "Age
of Consent" shows a joyous danceable
version of the band that is seen only too
rarely. Put this one on and dance. The
tune features multi-track percussions
and fine solos on synthesizer and
guitar, by Bernard Albrecht and Gillian
Gilbert respectively.
"We All Stand," the next tune, isn't
d tunes
with some
new rock
Hardcore from Minneapolis? Well,
not really. Fortunately the
Replacements have transcended that
term - now offering new songs that
stumble through an unusual variety of
styles, including folk, blues, rock 'n'
roll, and even a ballad or two.
The Replacements started their
career in a South Minneapolis
basement in 1979 and have come a long
way since, as evidenced by their highly
anticipated appearance at the Big Beat
(215 N. Main St.) August 12th. With two
albums and a 12-inch EP behind them,
the Replacements have much to offer
by way of new rock.
The lineup includes Paul Westerberg,
who writes, sings, and plays rhythm
guitar, Bob Stinson who plays lead
guitar, Tommy Stinson on bass, and
Chris Mars on drums. This, their
second tour, brings them to Ann Arbor
with the 3-D Invisibles before they have
to return home so Tommy can head
back to school and the guys can start
work on their next album.
- Mare Hodges
BOB DASCOLA
and staff
South U & East U
are now at
DASCOLA STYLISTS
668-9329
opposite Jacobsons
quite so good. The pace slows down quite
a bit - this one drags on just a little.
"The Village" picks the pace back up
with lots of electronic percussions and
its bouncy bass lines. New Order has
never sounded so happy. Yet their
lyrics combine a new-found joy with
philosophical thoughts in somewhat a
bubble gum manner.
The tunes break - a procedure
popular with lots of the new synthesizer
bands - stopping short in mid-stream
directly to a simpler synthesizer/per-
cussion sequeway, then into "586,"
another highly danceable tune based on
a heavy syntho-beat. These two songs
have much in common and the use of
the synthesized break was a good move.
"586" is very New York City. It's a
near-dub version with flanged-out in-
strumentation. The beat is very solid
and reminiscent of Material or Nile
Rodgers (Chic).
Side two opens with "Your Silent
Face." It's almost anthem-like with its
synthesizer and melodica introduction.
If one listens to the lyrics you might
hear the story of the trauma and
metamorphosis the band went through
after Ian Curtis' death. It's always just:
the same/No hearing, or
breathing/No movement/No lyrics,;
no nothing/Sign that leads the way,'
path we cannot take, caught-me at a
bad time.
"Ultraviolence" picks the beat back
up with guitars over layers of drums
and synthesized percussion that's
.rather jungle-like. The tune itself is
likeable, yet not for singles or dan-
ceable material - it's just something to
New Order's latest LP 'Power, Corruption and Lies' offers some new dance
music outside the Joy Division vein.
flesh out an album.
"Ecstasy" opens with treated vocals
ala vocoder which seems to be all the
rage in funk circles. Again the beat is
big and bouncy and heavily based on
the synthesizer-drum format.
"Leave Me Alone" closes out the al-
bum with a pleasant note. I'm glad they
saved this one for last - it's upbeat,
with plenty of guitars and vocals up-
front. This is a new New Order, with a
new outlook. With Power, Corruption
and Lies they should drop their cult
status and take their rightful place
among "popular" bands. New Order
has made the break from its gloomy
past and has created music that fits in
the pops forefront.
- Jay Dorrance
Stanley H. Kaplan..
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