Tag: Gillian Gilbert (Page 1 of 2)

ALEX HUSH Interview

Alex Hush is the noted dance producer best known for his work in DAYBREAKERS with Ric Scott and before that, KOISHII & HUSH with Simon Langford.

Based in Toronto, undoubtedly now one of the liveliest and most creative hubs for modern electronic music, Alex Hush has an impressive portfolio that includes U2, MADONNA, ERASURE, PET SHOP BOYS, YAZOO, DURAN DURAN and INXS among others.

His latest work has been with DAYBREAKERS and an excellent remix of ERASURE’s new single ‘Hey Now (Think I Got A Feeling)’.

Alex Hush was also behind the famed seven volume ‘Retro:Active – Rare & Remixed’ CD compilation series on Hi-Bias Records in Canada which dug deep in the vaults for rare tracks by VITAMIN Z, LEISURE PROCESS and SEONA DANCING as well as featuring notable extended versions from the likes of A-HA, DEAD OR ALIVE, CAMOUFLAGE, OMD and THE CURE.

The Electricity Club spoke to him about his career to date DAYBREAKERS, KOISHII & HUSH and a whole lot more…

All the projects you have been involved with are largely associated with a dance friendly sound, what sort of clubs, DJs and environments influenced your approach to music?

Good question. I suppose I would say I was shaped by the music I grew up listening to in the 80s and to this day. In Toronto, there was a station called CFNY which played a ton of new wave and house tracks that were hugely influential. After that, people like Judge Jules, Pete Tong, Armin Van Buuren etc, all had a big influence with the tracks they played.

Who were the artists that you grew up loving?

ERASURE, NEW ORDER, DEPECHE MODE, PET SHOP BOYS, DEAD OR ALIVE, THE CULT, THE CURE, DURAN DURAN and many more. Even artists that only had one or two songs made an impact. I suppose for most people, if you liked one of the bands I mentioned, you more than likely listened to all of them.

So you love songs and you love remixes?

I do. I am no different than anyone when it comes to remixes. Sometimes a remix will turn a good track into a great track and other times I may not love the remix that was done. When it comes to remixes, fans can be very passionate and very opinionated and I am no different.

Who are your favourite remixers?

So many great ones but off the top of my head, the ones that I really like(d) are Shep Pettibone, Matt Darey, Tin Tin Out, Mark Saunders, Ferry Corsten. Any time their names appear you know you are getting something special.

Your first big name remix as DAYBREAKERS was ‘Love Is Bigger Than Anything In Its Way’ for U2, there were a lot of remixes commissioned for that, what was your approach to make it distinct?

For that mix, we wanted to try something with a bit of a deeper vibe to it while using the vocals in a unique way. We did two mixes and Bono really liked the ‘main’ mix and had an idea for an extra vocal. So he recorded it and sent it over and we incorporated it into the final mix which we were really pleased about. Nice to have his input and something unique.

How did you feel when MADONNA came calling for ‘I Rise’? Did you get to find out what she thought of your mix?

Just to work on U2 and MADONNA tracks was a thrill. We got the MADONNA mix right after the U2 one and it was a lot of fun to work on also. Because of the style of song, we took that in a different direction and was glad she and her team were happy with it. No, we never got any direct feedback from her, but we were honoured that our mix was one of the ones chosen to be included on the RSD vinyl release.

DAYBREAKERS have produced a remix for ERASURE’s new single ‘Hey Now (I Think I Got A Feeling)’, do remixers get set a brief or is the point of being involved is that you are given artistic freedom?

I suppose that would depend on the project. We have never been given any sort of guidelines for a remix, but on occasion I have asked the label if they have any sort of direction for the mix. That can save a lot of time if you start out doing a mix in style a) and they really had style b) in mind. Other than that though, we have never had any sort of restrictions or template given to us.

The ERASURE mix was a lot of fun. We started out making a very progressive house sound and it was sounding good but neither Ric nor myself thought it was truly capturing the feel of the original. We completed that and set it aside, during which time Ric came up with a cool idea of a ‘pop’ mix, which ended up morphing into the final mix you hear now.

‘Marigold’ by the NEW ORDER offshoot SHADOWPARTY was another track remixed by DAYBREAKERS, would you like to be asked to work on an actual NEW ORDER song one day?

Yes! That is definitely on our bucket list! ‘Marigold’ was a great track to work on. Loved the original and having known Tom and Phil from NEW ORDER and BAD LIEUTENANT and getting to know Josh, doing a mix for them seemed like a no brainer. They are very passionate about what they do and great musicians.

Speaking of NEW ORDER, you worked with Gillian Gilbert on ‘Lifetime’ in KOISHII & HUSH, how did that come together?

I have been friends with NEW ORDER management for ages, and when we sat down to come up with our dream collaborators list, Gillian was on it.

Her vocals on THE OTHER TWO project are so good, we had to get her singing something for us, so we pitched the idea and luckily, she agreed! The entire NEW ORDER camp are great.

KOISHII & HUSH were known for using some unusual vocalists as in artists who were not known for singing. Had that been a conscious concept or did it evolve naturally?

Hmmmm. I don’t think we ever set out to make a ‘non singers’ list – it just kind of happened. We did have a running list of people we wanted to work with just because we thought the combinations would be unique and quite cool, but it was not really a concerted effort. I would say that of all the people we approached, we got about 90% of them on board. We still have many unreleased K&H tracks that will see the light of day at some point.

One example was DURAN DURAN’s John Taylor and ‘C’est Tout Est Noir’, what inspired the collaboration?

Well both Simon and I were fans of DURAN DURAN and I knew John had done stuff on his own and always liked his style. His track ‘I Do What I Do’ from the ‘9½ Weeks’ soundtrack really stood out in my mind and he considers ‘C’est Tout Est Noir’ a follow-up to that song, which is very cool.

‘C’est Tout Est Noir’ had a superb remix by Mark Reeder, when you write and produce a song, can you get “possessive” about things or does your experience allow you to remain objective?

Yes and no. Like I mentioned before, I can have the same reactions to remixes as anyone. What I do try and do though is remove myself from the equation and listen to it as someone not involved, which is not always easy to do. If you love a remix someone has done of your work, then great. If at first it is not really grabbing you, you need to think “ok, maybe this is not MY style but it might be for someone else”.

To be honest, I can only think of one occasion ages ago where a remix was submitted and we were not enamoured with it, but as it was not ‘our’ sound, who were we to judge? In Mark’s case, yes, it’s a great mix and we were thrilled to have him involved. I know John really liked his mix too and used it as the backing track on a vlog he made flying from London to LA.

The KOISHII & HUSH track ‘Rules & Lies’ was sung by Sarah Blackwood, what was she like to work with?

Total diva. LOL just kidding! She was great. Super sweet and did a great job on the writing and vocals. We met with Sarah at a coffee shop in London and hit it off right away. We were thrilled to have her involved because I had been such a huge fan of DUBSTAR. She is an underrated talent and would love to work with her again.

Is the album dying art? In the dance environment where there is less focus on the long player format?

It certainly seems that way, which I think is unfortunate. With so much of music being based on quick hits on social media, and with songs getting shorter to take advantage of streaming services, I think the whole experience that an album used to bring is gone. It obviously started with the ‘death’ of the CD and it has only gotten worse. Music seems to be the only instance where this seems to happen. You don’t watch bits of a movie or only read a few chapters of a book…

You’ve remixed DURAN DURAN, PET SHOP BOYS, YAZOO, INXS, WHEN IN ROME and B-MOVIE among others in your various guises, do you have any particular favourites from your career?

Oh sure. The remix of INXS’ ‘Need You Tonight’ was a big one and I think it still holds up to this day. ‘Storm In A Teacup’ for ERASURE and others, but it’s tough to pick out individual ones. They are all different and hopefully special to the listener in their own way.

Is there anyone else who you would really like to work with or remix?

I would really like to remix DEPECHE MODE or A-HA. I know we would love to work with a bunch of other people but I am not going to mention any names in case I jinx something 😊

What’s next for DAYBREAKERS or anything else you are working on?

We have our first single signed to a label and that will be coming out soon. We are really excited about this one. We think it sounds great and hopefully others think so too!


The Electricity Club gives its grateful thanks to Alex Hush

DAYBREAKERS’ remix of ERASURE’s ‘Hey Now (Think I Got A Feeling)’ is released by Mute Artists and available now via the usual digital outlets

https://www.facebook.com/We.Are.Daybreakers

https://twitter.com/Daybreakers__

https://www.instagram.com/we.are.daybreakers/

https://www.facebook.com/Koishii.and.Hush

https://twitter.com/koishiiandhush


Text and Interview by Chi Ming Lai
6th July 2020

Lost Albums: THE OTHER TWO & You

Following the ‘Technique’ album released in early 1989, NEW ORDER were in something of a state of flux.

Bernard Sumner had already opted for what was planned as a solo album but became ELECTRONIC after meeting up with Johnny Marr, then a free agent having left THE SMITHS. Peter Hook responded with the fittingly named REVENGE. Even the band’s manager Rob Gretton had his own adventure with Rob’s Records.

But what of Stephen Morris and Gillian Gilbert, THE OTHER TWO?

Having soundtracked the BBC’s comedy drama ‘Making Out’ and youth culture show ‘Reportage’, the NEW ORDER couple had been composing and stockpiling various sketches and instrumentals pieced together at their home studio near Macclesfield in the event of future commissions, as happened later with ‘America’s Most Wanted’.

However, following the Italia 90 World Cup song ‘World In Motion’ which was supposed to start the process towards making the follow-up to ‘Technique’, Gilbert and Morris found themselves with time to kill having turned down a film soundtrack to accommodate the now false start. ‘World In Motion’ had actually mutated from the ‘Reportage’ theme which Gilbert had mostly written, so Factory Records’ Alan Erasmus suggested that some of this stockpiled material could be released as an album.

In a 2011 interview, Stephen Morris told The Electricity Club: “They start off as these things for TV, you get really attached to them and you twist one or two of them into being songs. Some of them never turn into songs but you get persuaded by the record company or someone that you have to get a singer! So we tried to get a singer and then Gillian ended up doing it which is great, she’s really good at it.” – that singer they tried to get was actually Kim Wilde! But when that idea never got beyond a meeting, Gilbert took on the role of lead vocalist, helped along the way with some singing lessons.

The brilliant debut single ‘Tasty Fish’ released in late 1991 was superbly catchy and had the Kylie Factor. But with the ongoing problems at Factory Records, the single never made it to many shops and stalled at No41 in the singles chart.

The subsequent album which had actually already given a catalogue number of Fact 330 never got released on Factory as planned, while the couple’s attentions were turned to NEW ORDER for what was to become ‘Republic’, produced by Stephen Hague. In the fallout that came with talk of London Records buying Factory out, the iconic Manchester record label collapsed and NEW ORDER signed with London direct.

THE OTHER TWO ‘& You’ finally appeared in late 1993 on London Records seven months after ‘Republic’ and had been tweaked from its original Factory configuration by Stephen Hague.

Opening with a new version of ‘Tasty Fish’, although Hague’s additional production neutered the dynamics of the original Pascal Gabriel single mix, the song still stood out, a well-deserved hit if ever there was one, but not to be.

Following it was the dancey DUBSTAR of ‘The Greatest Thing’, a joyous music statement about the power love. Its sampled acoustic guitar lines could easily have been represented by Peter Hook’s bass and highlighted the couple’s contribution to NEW ORDER, despite some reports to the contrary.

‘Selfish’ made it three in a row for the start of THE OTHER TWO ‘& You’, a Hague production rich in synthetic strings and lively but unobtrusive machine driven rhythms. Gilbert’s resigned vocal about “someone I hate” reinforced to the inherent melancholy in a fabulous song with an exquisite understated quality.

On the moodier electro-acoustic strum of ‘Movin’ On’, it wasn’t difficult to imagine Sarah Blackwood and the usual cup of tea, with Gillian Gilbert’s singing lessons proving effective and highlighting her as actually the best technical vocalist in NEW ORDER.

With soundtracks having been their main compositional forte during this period, there were naturally instrumentals; the uptempo pulse of ‘Ninth Configuration’ wouldn’t have sounded out of place as a NEW ORDER B-side circa ‘Technique’, ditto ‘Spirit Level’, although the eerie interlude ‘Night Voice’ pointed more towards filmic ambience.

Meanwhile the widescreen synthpop of ‘Feel This Love’ foresaw a future Stephen Hague produced act called TECHNIQUE; a female electronic pop duo comprising of Xan Tyler and Katie Holmes, they were to name themselves after the NEW ORDER album and later morphed into CLIENT featuring Sarah Blackwood! The charming ‘Innocence’ with its lovely OMD-styled string melody embraced a subtle Italo house staccato, but closing the album was the brilliant ‘Loved It (The Other Track)’.

With its hypnotic digital slap bass and club friendly vibes, it had been composed to celebrate the opening of The New Factory, a building in Charles Street which became a white elephant and ultimately contributed to Factory Records’ collapse.

Featuring cut-up speech from the likes of the late label co-founder Tony Wilson shouting “Any one of you miserable musicians want any more pills?” as well members of NEW ORDER deadpanning “Not my idea!” and “Are you sure?”, time has made the track an amusingly ironic musical document of that carefree Factory period.

Better than REVENGE but not consistently soaring to the heights of the ELECTRONIC debut, THE OTHER TWO ‘& You’ did however showed how Gilbert and Morris had often been overlooked in the NEW ORDER story.

Over the following years, work continued on THE OTHER TWO’s second album ’Super Highways’. It eventually surfaced in 1999 and was perhaps less immediate than its predecessor. The realisation of their original guest female vocalist idea came to fruition with Melanie Williams from Rob Records signings SUB SUB on the excellent ‘You Can Fly’ and the very DUBSTAR sounding title track.

Gilbert sang on the lovely orchestrated electropop of ‘The River’ while there were also various experiments in drum ‘n’ bass like the mighty ‘One Last Kiss’. However, the record had been overshadowed by the reunion of NEW ORDER with their triumphant comeback gigs at Manchester Apollo and the Reading Festival in 1998.

Family matters led to Gillian Gilbert departing NEW ORDER before the guitar heavy ‘Get Ready’ was released in 2001. The void left the band in a much tenser masculine environment and the sad untimely death of Rob Gretton in 1999 left the now well-documented conflicts between Bernard Sumner and Peter Hook without a referee. Fast forward to today, Gillian Gilbert is back in NEW ORDER and the electronics have returned in style on 2015’s ‘Music Complete’ released on Mute Records. “I’m on all the best records” she amusingly quipped to Q magazine on her return.

But if NEW ORDER hadn’t made a return in 1998 and THE OTHER TWO had been able to be a full-time occupation, could they have been as successful as DUBSTAR or SAINT ETIENNE?

“No, we’re completely the wrong kind of people!”, Stephen Morris said adamantly. “I’ve tried but it never works… we’d never be popstars!”


THE OTHER TWO ‘& You’ + ‘Super Highways’ are reissued by Factory Benelux in double coloured vinyl LP and CD formats on 3rd April 2020  with ‘The Other Disc’ bonus CD featuring rare tracks and remixes by FACTORY FLOOR available as an exclusive optional extra via  FBN mailorder copies of either album, pre-order direct from https://www.factorybenelux.com/the_other_two.html

http://theothertwo.co.uk/

https://www.facebook.com/TheOtherTwoOfficialMusic/

https://twitter.com/The_OtherTwo

https://twitter.com/gillian_gilbert

https://twitter.com/stephenpdmorris

https://www.factorybenelux.com/


Text by Chi Ming Lai
29th February 2020

NEW ORDER Decades

A new film by Mike Christie for Sky Arts, ‘Decades’ is a part concert and part documentary presentation of iconic Manchester band NEW ORDER. 

It follows them as they re-stage their acclaimed ‘So It Goes..’ collaboration with conceptual artist Liam Gillick and a 12-piece synthesizer orchestra recruited from Manchester’s Royal Northern College of Music.

Coinciding with the 40th anniversary of JOY DIVISION’s TV debut performing ‘Shadowplay’ on Granada TV, introduced by their soon-to-be Factory Records boss Tony Wilson, the film celebrates the past, present and future of NEW ORDER.

Featuring interviews with Bernard Sumner, Stephen Morris and Gillian Gilbert along with new recruits Phil Cunningham and Tom Chapman, ‘Decades’ also includes contributions from graphic designer Peter Saville as well as cultural commentators Jon Savage and Dave Haslam.

First performed at the Manchester International Festival 2017, the audio / visual spectacular had its own technical and logistical challenges, with up to 19 musicians on stage including conductor Joe Duddell.

Taking the installation to OGR Torino and Wiener Festwochen earlier this year, the whole concept had to be almost totally reconstructed thanks to the height restrictions and dimensions of the two hosting art spaces in Italy and Austria respectively.

For the musical aspect of the show, the MIDI information controlling the NEW ORDER’s regular live set had to be transcribed into twelve individual music scores for each of the students to play by hand. But controlled from a huge computer were the light show, the angles of the white Venetian blinds in each of the cubicles that the synth orchestra were each positioned in and all the sounds for the various synthesizers.

Still very much a concert, Liam Gillick was adamant that this wouldn’t be “a weird art event with music”. Stephen Morris got fully involved in the technological aspects because he was, in his own words, “the only one boring enough to read the manual”, a trait which Bernard Sumner reflected on as being “unusual for a drummer” and something which long suffering wife Gillian Gilbert laughed about and said made him “impossible to live with…”

But Morris spoke in awe of how with the original NEW ORDER productions, the band would programme each note laboriously into the sequencers before speeding up the results, while each member of the synth orchestra would use their virtuoso ability to deconstruct and tightly recreate the fast programmed elements of tracks like ‘Plastic’, ‘Sub-Culture’, ‘Vanishing Point’, ‘Shellshock’ and ‘Bizarre Love Triangle’.

But as Cunningham remarked, “you’ve got to have a feel” and this was a quality which the synth orchestra undoubtedly provided. The best song from NEW ORDER’s most recent ‘Music Complete’ album, ‘Plastic’ was presented full length as were all the other songs in the film, a relief from the usual quick cut butchering and fast editing that has occurred in 21st Century music event broadcasts aimed at youngsters with attention deficits.

The spectacular sea of flashing straight line visuals came over well on the small screen and reflected the song’s complex but energetic combination of Giorgio Moroder and house, aided by Sumner’s disco dad dancing and the silhouetted movements of the synth orchestra looking like a futuristic ‘Jailhouse Rock’.

The rarely performed baroque sex anthem ‘Sub-Culture’, while combining the best sonic elements of the original ‘Low-life’ version and the polarising John Robie remix along with many new parts, provided amusement with a major continuity error thanks to two very different looking female backing singers being used over the two dates during which the concerts in Vienna were filmed for this documentary.

Not doing ‘Blue Monday’ and ‘Truth Faith’ at the ‘So It Goes..’ shows encouraged NEW ORDER to be inventive with the setlist to primarily include other more synth friendly material. But one of the most interesting choices was the post-punk rage of ‘Disorder’, the opener from ‘Unknown Pleasures’. While not presented as a concert number in the film, the rehearsal footage was a reminder of its blistering impact while leading to a section on the forever looming legacy of JOY DIVISION vocalist Ian Curtis.

After the passing of Curtis, Bernard Sumner took over lead vocals from the ‘Movement’ album onwards and in the film, Phil Cunningham recalled how uncomfortable Sumner looked when listening to it as the band members convened to listen back to the NEW ORDER catalogue to choose songs for the ‘So it Goes..’ shows.

A short section focussed on Tom Chapman replacing Peter Hook as bassist. While Peter Saville reflected that the chemistry which NEW ORDER had in their classic line-up was what made them great, he also accepted that “chemistry is combustible”; and while Sumner praised Chapman’s contributions on ‘Music Complete’, he complimented Hook obliquely by saying “not that the other bass in our history wasn’t great, it was great!”

Sumner amusingly waved and greeted the synth orchestra before a fabulously dreamy update of ‘Bizarre Love Triangle’ which was visually enhanced by close-ups of the exuberant actions from the synth orchestra members, although just as the track segued into ‘Vanishing Point’, the performance disappointingly faded off into the next documentary chapter.

The neo-classicism of ‘Your Silent Face’ was just perfect foil for interpretation by the synth orchestra and as an emotional finale of the glorious ‘Decades’ itself from ‘Closer’ captured the tense sonic cathedral of JOY DIVISION while adding some strangely uplifting qualities, both songs made for the ultimate display of multi-layered melancholic grandeur.

Beautifully produced, while the film itself was not too in-depth about the band’s history, it was an enjoyable snapshot of a reconfigured band in transition who were aware of their status as treasured veteran artists. Peter Saville concluded that Liam Gillick’s concept, as “his dialogue with his idea of NEW ORDER”, was an artistic success and “put the group back into an uncomfortable space”, just as in their formative years.

As much a document about the regeneration of Manchester as a cultural force as well as the continuing relevance of NEW ORDER, what was particularly touching about ‘Decades’ was the band’s respect of their tremendous back catalogue and general happiness that their naïve pursuit of fun led them to success.

Now, if only DEPECHE MODE would be a bit more grateful for their lot and accord more respect to the very songs that got them to where they are today…


‘Decades’ can be viewed on Sky via subscription – for more information, please visit https://www.sky.com/watch/title/programme/968c1ac8-3538-4e4e-b9e8-4977a160b551/new-order-decades

The live album ‘∑(No,12k,Lg,17Mif) So it goes..’ is released as a limited edition triple coloured vinyl LP and double CD by Mute Artists

NEW ORDER play London’s Alexandra Palace on Friday 9th November 2018

http://www.neworder.com/

https://www.facebook.com/NewOrderOfficial

https://twitter.com/neworder

https://www.instagram.com/neworderofficial/

http://mute.com/artists/new-order


Text by Chi Ming Lai
23rd September 2018, updated 13th July 2019

A Beginner’s Guide To NEW ORDER Collaborations + Projects

Photo by Glenn A Baker

Like PET SHOP BOYS, NEW ORDER collaborated with other artists from quite an early stage in their career, as well as later working on their own various projects during the band’s recurring hiatuses.

Even in the JOY DIVISION era, Ian Curtis, together with manager Rob Gretton produced ‘Knew Noise’ by SECTION 25 in 1979.

Following the passing of the charismatic front man, NEW ORDER underwent a well-documented musical transformation, aided by the advancements in music technology.

While NEW ORDER began with electronic instruments such as the Doctor Rhythm DR-55 drum machine, ARP Quadra and Sequential Pro-One, their synth armoury would expand to a Moog Source, Emulator, several Prophet 5s and an Oberheim DMX.

Bernard Sumner in particular relished the opportunity to further his craft by recording with other artists. Although more naturally inclined to the live environment, Peter Hook did bring his experience into the studio as well, while Stephen Morris and Gillian Gilbert primarily found an outlet for their knowhow within television. The compilation boxed set ‘NEW ORDER Presents Be Music’ released on Factory Benelux gathered many of these works.

Photo by Donald Christie

But there are still a significant number of tracks which featured the artistic input and involvement of a NEW ORDER member that are worthy of discovery and recognition.

So here are 20 tracks which encapsulate the spirit of NEW ORDER through the medium of collaboration and joint working, restricted to one track per project and presented in chronological order.


MARTHA Light Years From Love (1983)

Martha Ladly was already part of the NEW ORDER family having produced the paintings for the Peter Saville Associates artwork of ‘Temptation’ and the ‘1981-1982’ EP. Formally of MARTHA & THE MUFFINS, she teamed up with fellow Canadian Brett Wickens on this charming pop tune that echoed THE HUMAN LEAGUE’s ‘Open Your Heart’. Peter Hook provided his distinctive melodic six-string bass and dynamic production came from Steve Nye. The promo video was directed by Midge Ure and Chris Cross of ULTRAVOX.

Originally released as a single on Island Records, currently unavailable

http://samemistakesmusic.blogspot.com/2009/01/charmed-life-of-martha-ladly_22.html


52ND STREET Cool As Ice (1983)

While the trailblazing electro of ‘Cool As Ice’ was solely produced by Donald Johnson, Bernard Sumner contributed the synth basslines which were from a Moog Source run from a Powertran 1024 sequencer; it was to become the trademark feature on many of the NEW ORDER front man’s productions. The hybrid of authentic Manchester soul courtesy of Beverley McDonald’s vocals and New York urban influences was unsurprisingly a cult success across the Atlantic.

Available on the compilation boxed set ‘‘NEW ORDER Presents Be Music’ (V/A) via Factory Benelux

https://www.discogs.com/artist/11896-52nd-Street


MARCEL KING Reach For Love (1984)

One of Bernard Sumner’s productions for Factory with Donald Johnson, ‘Reach For Love’ featured the late Marcel King who was a member of SWEET SENSATION, a vocal group who won ‘New Faces’ and had a No1 with ‘Sad Sweet Dreamer’. With its distinctive Moog bassline programming, this was a vibrant electro disco tune that couldn’t have been more different. Shaun Ryder of HAPPY MONDAYS remarked that if this had been released on a label other than Factory Records, it would have been a hit!

Available on the compilation boxed set ‘NEW ORDER Presents Be Music’ (V/A) via Factory Benelux

https://www.discogs.com/artist/36617-Marcel-King


NYAM NYAM Fate/Hate (1984)

Despite Peter Hook’s more rock inclined sympathies and productions for acts like STOCKHOLM MONSTERS and THE STONE ROSES, he showed that he knew his way around the dancefloor as well with this Moroder-esque offering by Hull combo NYAM NYAM which he produced. Featuring a Roland TR808 plus NEW ORDER’s Emulator and Prophet 5 amongst its instrumentation, ‘Fate/Hate’ certainly today deserves to be as lauded as SECTION 25’s ‘Looking From A Hilltop’.

Available on the compilation album ‘NEW ORDER Presents Be Music’ (V/A) via Factory Benelux

http://www.ltmrecordings.com/nyam_nyam.html


SECTION 25 Looking From A Hilltop – Restructure (1984)

In a change of direction where founder member Larry Cassidy stated “you can’t be a punk all your life”, Factory Records stalwarts SECTION 25 recruited vocalist Jenny Ross and keyboardist Angela Cassidy to go electro. Produced by Bernard Sumner and Donald Johnson, the clattering drum machine accompanied by ominous synth lines and hypnotic sequenced modulations dominated what was to become a much revered cult club classic.

Available on the SECTION 25 album ‘From The Hip’ via Factory Benelux

http://www.section25.com


PAUL HAIG The Only Truth (1984)

Possibly the best NEW ORDER song that NEW ORDER never recorded, although ex-JOSEF K front man Paul Haig demoed the song to an almost complete standard, when as Haig told The Electricity Club: “Bernard Sumner and Donald Johnson started adding more to it like extra guitar, bass and percussion. We spent a long time on the sound of the percussion” . ‘The Only Truth’ was like a brilliant cross between ‘Blue Monday’ and ‘Temptation’, and the 12 inch version was almost as long!

Available on the PAUL HAIG album ‘At Twilight’ via Les Disques Du Crepuscule

http://www.rolinc.co.uk


SHARK VEGAS You Hurt Me (1986)

Mark Reeder moved from Manchester to Berlin in 1978 having become fascinated by the artistic diversity of the city and was for a time Factory Records’ representative in Germany. Reeder often sent records to Bernard Sumner from the emerging electronic club scenes around the world. His own Deutsche musical journey started with DIE UNBEKANNTEN, who mutated into SHARK VEGAS; the sequencer heavy ‘You Hurt Me’ was produced by Sumner at Conny Plank’s studios near Cologne.

Available on the MARK REEDER album ‘Collaborator’ via Factory Benelux

https://www.facebook.com/markreedermusic/


REVENGE Jesus I Love You (1989)

The aptly named REVENGE was Peter Hook’s response to Bernard Sumner’s ELECTRONIC. Comprising of Hook, Dave Hicks and Chris Jones, the  single ‘Seven Reasons’ backed with the edgy gothique of ‘Jesus I Love You’ got in the shops a few weeks before ‘Getting Away With It’. Coming over like early SISTERS OF MERCY with some extra raw power, it was a promising calling card. However, as things progressed, the output of REVENGE was not particularly well-received by the music press.

Available on REVENGE album ‘One True Passion V2.0’ via LTM Recordings

http://www.ltmrecordings.com/revenge.html


THE BEAT CLUB Security – Remix (1990)

Miami duo THE BEAT CLUB were the husband and wife team of producer Ony Rodriguez and singer Mireya Valls. The Bernard Sumner remix of ‘Security’ was the first ever release on Rob’s Records, the imprint of Rob Gretton. Sumner’s creative additions saw an overhaul of the original version with the crucial addition of his own vocal contribution, giving it an unsurprisingly NEW ORDER-like feel along the lines of a more fully realised ‘State Of The Nation’.

Available on the compilation boxed set ‘NEW ORDER Presents Be Music’ (V/A) via Factory Benelux

http://www.ltmrecordings.com/the_beat_club.html


808 STATE Spanish Heart featuring BERNARD SUMNER (1991)

Having been largely instrumental and sample based on their debut ‘90’, the Manchester dance collective used guest vocalists on their more melodic second long player ‘Ex:El’; while Björk contributed to ‘Ooops’, Bernard Sumner added his voice to the dreamy Balearic of ‘Spanish Heart. A less frantic cousin of ‘Mr Disco’ from ‘Technique’ with its holiday romance subject matter, ‘Spanish Heart’ had a blissful feel not too distantly related to ELECTRONIC’s ‘Some Distant Memory’.

Available on the 808 STATE album ‘Ex:El’ via ZTT Records

https://www.808state.com


ELECTRONIC Some Distant Memory (1991)

Frustrated with the conflicts and confines within NEW ORDER, Bernard Sumner had planned a solo album. But on bumping into Johnny Marr who had just departed THE SMITHS, it was turned into a collaborative project with the occasional guests including Neil Tennant, Chris Lowe and later Karl Bartos. It was ELECTRONIC not just in name but also in nature. The beautiful closing section of ‘Some Distant Memory’ featuring the oboe of Helen Powell enhanced the string synth melancholy.

Available on the ELECTRONIC album ‘Electronic’ via EMI Records

http://www.electronicband.com/


THE OTHER TWO Tasty Fish (1991)

Having done the music for the BBC shows including ‘Making Out’ and ‘Reportage’, Gillian Gilbert and Stephen Morris began turning their stockpile of unused material into songs when NEW ORDER went into hiatus. The original singer slated as the vehicle for these tunes was Kim Wilde, but when this fell through, Gilbert took over on lead vocals. Amusingly titled after a fish and chip shop near Stockport, ‘Tasty Fish’ was a catchy electropop single that should have been a big hit.

Available on THE OTHER TWO album ‘And You’ via LTM Recordings

http://www.ltmrecordings.com/the_other_two.html


A CERTAIN RATIO Shack Up – Radio Edit (1994)

Smoother, tighter, speedier and dancier plus more ELECTRONIC in both name and nature, A CERTAIN RATIO reconfigured and re-recorded their 1980 signature cover with Bernard Sumner and Johnny Marr at the production controls, all as part of a 1994 updates retrospective for Creation Records. Originally a rare groove track by BANBARRA from 1975, this new version was popular with those who had not previously enjoyed the Mancunian band’s earlier industrial funk exploits.

Available on the A CERTAIN RATIO album ‘Looking For…’ via Creation Records

https://acrmcr.com


MONACO What Do You Want From Me? (1996)

With the demise of REVENGE and seemingly NEW ORDER, Peter Hook regrouped with guitarist David Potts to form MONACO, a combo very much in the mould of the latter. Proudly embracing his signature melodic bass sound, the first single ‘What Do You Want From Me?’ sounded like it could have come off ‘Technique’, with Hook’s Curtis-like baritone and Potts’ Sumner-esque refrain enabling a prompt audience acceptance for the duo.

Available on the MONACO album ‘Music For Pleasure’ via Polydor Records

http://peterhook.get-ctrl.com/#/


THE CHEMICAL BROTHERS featuring BERNARD SUMNER Out Of Control (1999)

‘Out Of Control’ was THE CHEMICAL BROTHERS’ sonic template actually fulfilling its potential within a song based format with Bernard Sumner as the willing conspirator. With echoes of NEW ORDER’s 12 inch only excursions like ‘Blue Monday’, ‘Confusion’ and ‘Thieves like Us’, ‘Out Of Control’ had everything from a bombastic backbeat, cerebral sequences and bizarre lyrics, especially when Sumner resigned to the fact that “Maybe my moustache is too much…”

Available on THE CHEMICAL BROTHERS album ‘Singles 93-03’ via Virgin Records

http://www.thechemicalbrothers.com/


BLANK & JONES featuring BERNARD SUMNER Miracle Cure (2008)

Having worked with Robert Smith of THE CURE, German trance duo Piet Blank and Jaspa Jones had Bernard Sumner high on their list of singers for their album ‘The Logic Of Pleasure’, which also featured Claudia Brücken. The track managed to fill the electronic dance gap that had opened up with NEW ORDER’s more rock focused albums ‘Get Ready’ and ‘Waiting For The Siren’s Call’, while the single release came with excellent remixes  from Mark Reeder and Paul Humphreys from OMD.

Available on the BLANK & JONES album ‘The Logic Of Pleasure’ via Soundcolours

http://www.blankandjones.com/


FACTORY FLOOR A Wooden Box – STEPHEN MORRIS remix (2010)

Some say the music of FACTORY FLOOR is genius, others a load of repetitive bleeping to an incessant four-to-the-floor beat. Stephen Morris was a fan, hearing kindred spirits in their use of sequencers next to live drums and guitars, sometimes on the brink of post-industrial noise chaos. With his remix of ‘Wooden Box’, Morris brought out its more tuneful elements and added some vocoder processing. He continued to work with the band as the producer of 2011’s ‘(Real Love)’.

Available on the FACTORY FLOOR single ‘A Wooden Box’ via Blast First Petite ‎

https://www.facebook.com/factoryfloor/


WESTBAM featuring BERNARD SUMNER She Wants (2013)

Techno DJ WESTBAM celebrated 30 years in the music business with an intriguing mature collection of songs under the title of ‘Götterstrasse’ which featured Iggy Pop, Brian Molko and Hugh Cornwall as guest vocalists. ‘She Wants’ saw the return of Bernard Sumner on a new electronic recording. With the guitar driven BAD LIEUTENANT having been his main vehicle over the intervening years, it was great to hear him on something approaching the classic sound of synth-centred NEW ORDER again.

Available on the WESTBAM album ‘Götterstrasse’ via Vertigo Germany

http://www.westbam.de/dt/en/


NEW ORDER featuring BRANDON FLOWERS Superheated (2015)

Brandon Flowers named THE KILLERS after a fictional band in the ‘Crystal’ video while his own combo covered the JOY DIVISION standard ‘Shadowplay’ for the ‘Control’ film. So a collaboration was not totally unexpected in this union of the sorcerer and the apprentice. A Stuart Price production featuring Flowers on the chorus, ‘Superheated’ was a slice of supreme pop which despite the frantic drum ‘n’ bass elements, sounded more like THE KILLERS than it did NEW ORDER.

Available on the NEW ORDER album ‘Music Complete’ via Mute Artists

http://www.neworder.com


KOISHII & HUSH featuring GILLIAN GILBERT Lifetime – FM ATTACK Remix (2016)

Simon Langford and Alex Sowyrda are the British-Canadian duo KOISHII & HUSH whose tracks have featured unusual vocalists ranging from DURAN DURAN’s John Taylor to actress Joanne Whalley. Gillian Gilbert lent her voice to ‘Lifetime’, sounding not unlike Sarah Blackwood who incidentally sang on their 2015 offering ‘Rules & Lies’. The remix from FM ATTACK aka Canadian synthwave exponent Shawn Ward added a serene crystalline quality to proceedings.

Available on the KOISHII & HUSH single ‘Lifetime’ via Grammaton Recordings

http://www.koishiiandhush.com


RUSTY EGAN featuring PETER HOOK The Other Side (2017)

With the opening salvo ‘The Otherside’ featuring Peter Hook on Rusty Egan’s debut solo album, sonic comparisons with NEW ORDER were inevitable and the song’s melodic basslines showed how much his sound was a vital part of the band. The Bass Viking’s vocals also exuded a vulnerability that listeners could empathise with. But with Hooky touring the JOY DIVISION and NEW ORDER back catalogue, new material from him has been rare.

Available on the RUSTY EGAN album ‘Welcome To The Dance Floor’ via Black Mosaic

http://rustyegan.net


FREEBASS You Don’t Know This About Me – Remix Instrumental (2017)

A Mancunian supergroup of three bassists Hooky, Mani and Andy Rourke that spent five years in gestation before imploding. Producer Derek Miller aka OUTERNATIONALE was a fan and told The Electricity Club: “Really liked this song despite Hooky’s project falling apart on him! As you know, I’ve started and thought it deserved a proper release, albeit belatedly! So, I’ve been back in the studio with it and totally overhauled it sonically. There’s also a surprisingly punchy instrumental mix now”

Available on the FREEBASS single ‘You Don’t Know This About Me’ via 5 Pin Din Recordings

http://www.5pindinrecordings.co.uk


Text by Chi Ming Lai
24th March 2017

NEW ORDER Presents Be Music

Despite their success, NEW ORDER still got their hands dirty in helping to produce a number of acts for Factory Records and other associated labels such as Factory Benelux, Les Disques Du Crépuscule and Rob’s Records.

Be Music was the moniker of NEW ORDER’s publishing and eventually used to cover studio production work by all four members of the band. ‘NEW ORDER Presents Be Music’ gathers a selection of these varied recordings which involved either Bernard Sumner, Peter Hook, Stephen Morris, Gillian Gilbert or combinations thereof.

It includes electro club tracks released between 1982 and 1985, as well as more recent remixes and productions. This is a lavishly boxed 36 track 3CD affair that documents variations on the NEW ORDER theme before solo projects like ELECTRONIC, REVENGE, THE OTHER TWO and MONACO took over. There’s even the inclusion of the JOY DIVISION era ‘Knew Noise’ by SECTION 25, produced by Ian Curtis and Rob Gretton in 1979 which explores the doomy sub-PiL post-punk style of the period.

Beginning the package on Disc 1, QUANDO QUANGO’s percussive ‘Love Tempo’ sets the scene. Bernard Sumner said: “Producing was a really important sideline, it’s OK doing it because although all the groups are skint, you learn a lot and you’re helping somebody”. Mike Pickering’s pre-M PEOPLE electro-funk outfit certainly groove under Sumner’s guidance and the Anglo-Dutch interpretation of the form sounds accessible but unusual even today. The less immediate ‘Tingle’ is also included on the collection.

Another one of Bernard Sumner’s productions with A CERTAIN RATIO’s Donald Johnson featured the late MARCEL KING, a member of SWEET SENSATION who won ‘New Faces’ and had a No1 in 1974 with ‘Sad Sweet Dreamer’; ‘Reach For Love’ couldn’t have been more different. Layered with synths and bassline programming with an infectious machine rhythm, Shaun Ryder remarked that if the song had been released on a label other than Factory, it would have been a hit!

It’s B-side ‘Keep On Dancin’ is also present and comes over as a cooler electrified take on SHALAMAR, while the beefier New York remix of ‘Reach For Love’ by Mark Kamins and Michael H. Brauer is a nice bonus.

While 52ND STREET’s trailblazing ‘Cool As Ice’ was solely produced by Donald Johnson, Sumner contributed the synth basslines programmed using a Moog Source; it was a trademark feature on many of the NEW ORDER frontman’s productions. The hybrid of authentic Manchester soul and New York electro-influences was not surprisingly a cult success across the Atlantic. Indeed, also in the collection is the electro-funk workout of ‘Can’t Afford’, a Stephen Morris production that’s even more New York than Manchester.

Much starker, ‘Looking From A Hilltop’ from Blackpool’s very own post-punk doom merchants SECTION 25 was prompted by founder member Larry Cassidy’s assertion that “you can’t be a punk all your life”. In a move not dissimilar to Gillian Gilbert joining NEW ORDER, Cassidy recruited his wife Jenny and sister Angela to join his brother Vin in the band to realise this game changing manifesto. Produced by Sumner with remix input from Johnson, the collage of clattering drum machine accompanied by ominous synth lines and hypnotic sequenced modulations still sounds magnificent.

Meanwhile, ‘Reflection’ from the parent ‘From The Hip’ long player is a surprise but welcome inclusion to the set.

Almost chirpy when judged against SECTION 25’s earlier output, the tighter sequencing and drum machine programming from Sumner totally transformed the band.

Following along almost similar lines, ‘Fate/Hate’ by Hull combo NYAM NYAM was one of Peter Hook’s Be Music productions and its mighty Moroder-esque template proved that the bass Viking knew his way around the dancefloor despite his more rock inclined sympathies. ‘Fate/Hate’ certainly deserves to be as lauded as ‘Looking From A Hilltop’.

The inclusion of the now rare Bernard Sumner remix of THE BEAT CLUB’s ‘Security’ makes the purchase price alone of ‘NEW ORDER Presents Be Music’ worthwhile. This was the first ever release on Rob’s Records, the imprint of the late Rob Gretton, famed manager of NEW ORDER. Sumner’s additional remix and production saw an overhaul of the original version, with the addition of his own crucial vocal contribution giving it an unsurprisingly NEW ORDER-like feel along the lines of a more fully realised ‘State Of The Nation’.

More widely available, the full length version of ‘The Only Truth’ by PAUL HAIG is possibly the best NEW ORDER song that NEW ORDER never recorded. Although Haig demoed the song to an almost complete standard, there is no doubt that the extra bass, percussion and programming laid down by Johnson and Sumner are the necktie to go with Haig’s shirt and suit. The result is a brilliant cross between ‘Blue Monday’ and ‘Temptation’, and almost as long!

The Be Music journey moves to Berlin where renowned remixer Mark Reeder made his home in 1978, having become fascinated by the artistic diversity of the city.

Reeder often sent records to Bernard Sumner from the emerging electronic club scenes and this influenced his whole outlook on music. So a studio union between the pair was inevitable.

This came with Reeder’s band SHARK VEGAS and their 1986 Factory Records release ‘You Hurt Me’. Produced by Sumner and characterised by the type of disco sequence programming that made NEW ORDER famous, in a bizarre way it sounded like a relative of ‘Reach For Love’, the infectious groove offset by Alistair Gray’s dispassionate vocals.

Italian band SURPRIZE’s ‘Over Italia’ was originally part of the ‘In Movimento’ EP issued on Factory Benelux in 1984. Another Dojo / Be Music co-production, the Bologna combo’s ska and dub influences make this track an interesting curio, although there is no real hook within the repetition.

While Disc 1 has more of a bias on Bernard Sumner, Disc 2 on focusses on Stephen Morris. It has to be said, this second instalment of classic and new recordings is more mixed. THICK PIGEON (led by singer Stanton Miranda) and their ‘Babcock + Wilcox’ is a 1984 production by Stephen Morris and Gillian Gilbert that sort of passes by. However, ‘Bootsy (Swingfire Mix)’ with a remix from THE OTHER TWO is one of A CERTAIN RATIO’s better tracks.

But FACTORY FLOOR’s ‘(Real Love)’ produced by Morris is undoubtedly polarising. Some say it is genius, others a load of repetitive bleeping to an incessant four-to-the-floor beat! ‘Another Hilltop’ though is fabulous, a squiggly reworking by Morris with Bethany Cassidy taking her mother’s role in this update of the SECTION 25 classic; and it wins hands down over FACTORY FLOOR by virtue of being a song.

As the playlist progresses, there’s the treat of a frantic 2011 instrumental from THE OTHER TWO entitled ‘Inside’ which features the KRAFTWERK ‘Uranium’ sample used on ‘Blue Monday’, while ‘The Hunter’ by MARNIE is given a deep metronomic dance reinterpretation.

On FUJIYA & MIYAGI’s ‘Daggers’, as can be expected from the man who wanted to be a drum machine, Stephen Morris’ remix is rhythmically strong while THE OTHER TWO remix of ‘Oh Men’ by TIM BURGESS offers a Germanic flavour and some lovely cascading synth tones. There’s another 9 minutes of FACTORY FLOOR in ‘A Wooden Box’ before the second CD concludes with two takes on LIFE’s ‘Tell Me’, a female vocalled alternative pop number released as FAC106 in 1984.

Disc 3 collects together some assorted band contributions and a number of Peter Hook productions.

Previously known as just ‘Theme’, ‘Lavolta Lakota Theme’ was composed as gig intro music for LAVOLTA LAKOTA and comes over as a menacing drum machine driven cousin of ‘Murder’, layered with timpani samples to aid the apocalyptic drama.

Of STOCKHOLM MONSTERS, the brassy new wave of ‘All At Once’ produced by Hooky is enjoyable but very much of its time.

Led by a vocoder, ROYAL FAMILY & THE POOR’s ‘Motherland’ is pure art angst, while completing a quartet of Hooky helmed studio creations on Disc 3 is AD INFINITUM’s cover of ‘Telstar’. Not exactly the greatest reinterpretation in the world, FAC93 was originally rumoured to be NEW ORDER in disguise and while this curio certainly had a number of distinct elements like Hooky’s bass and an Oberheim DMX, the exercise was actually a project fronted by Lindsay Reade, the former Mrs Tony Wilson. But her intended new original lyrics for ‘Telstar’ were vetoed by The Joe Meek Estate, so a version with more abstract vocals was released instead.

Not a NEW ORDER production but featuring percussive assistance from Stephen Morris, ‘Theoretical China’ by TUXEDOMOON’s Winston Tong had an all-star cast including ex-PUBLIC IMAGE LIMITED bassist Jah Wobble and MAGAZINE’s Dave Formula who also co-produced with ASSOCIATES’ Alan Rankine. Tong later recorded some more fully realised material for his excellent ‘Theoretically Chinese’ album, but this neo-title song is a good introduction to his electropop phase.

One nice surprise is RED TURNS TO ‘Deep Sleep’; produced by Stephen Morris, the song originally released as FAC 116 still sounds fresh and has dated better than a number of the offerings at the beginning of Disc 3.

With sequence programming by Sumner, ‘Sakura’ documents SECTION 25 entering the electronic world in 1982. Around this time, NEW ORDER went the full sequencer route having previously triggered synthetic pulses on ‘Everything’s Gone Green’ and ‘Temptation’.

The end result was the 20 minute ‘Video 5-8-6’, constructed using a home built a Powertran 1024 Sequencer to control a Powertran Transcendent 2000 synth while clocked off a Clef Master Rhythm.

An ominous sign of the future, it was the first NEW ORDER recording not to feature Peter Hook but ultimately lay the blueprint for ‘Blue Monday’ and more…

Whether you are a fan of NEW ORDER and the legend of Factory Records or would like to discover some lesser known but brilliant electronic pop jewels, this terrific collection is a must.

Accompanied by comprehensive, well-researched liner notes from the ever reliable James Nice that include a quote from The Electricity Club’s 2011 interview with Stephen Morris, there really is something for everyone in this vast set documenting an adventurous period in music.


With thanks to James Nice at Factory Benelux

‘NEW ORDER Presents Be Music’ is available as a 36 track 3CD boxed set or 12 track double gatefold vinyl

http://www.factorybenelux.com/new_order_presents_be_music_fbn60.html

http://www.neworder.com/

http://peterhook.get-ctrl.com/#/


Text by Chi Ming Lai
17th February 2017

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