Indie Basement: A week of classic indie rock

This text provides a detailed, song-by-song analysis and commentary on various tracks from the band New Order, often focusing on the interplay between Peter Hook’s bass lines and Bernard Sumner’s guitar work.

Here is the content presented in an organized format:

*

“The Village” (1983)

Commentary: Power, Corruption & Lies is described as a perfect record, containing moments of sadness and joy. It bounces along like spring, featuring Sumner singing about love. The mid-section instrumental (guitars, synthesizers, drum machines) is highlighted as one of New Order’s most magical moments.
Quote: “The synths are incredible from 1:45 so in your face but not overpowering … then they disappear – my whole taste in music seemed to change because of this song” – The Charlatan’s Tim Burgess on “The Village“

“Leave Me Alone” (1983)

Commentary: This track is analyzed in terms of the interplay between Peter Hook’s high-register bass and Bernard Sumner’s guitar. It is called one of New Order’s crowning achievements, described as a grey-hued portrait of loneliness, fading out with gorgeous instrumental melancholia.

“Thieves Like Us” (1984)

Commentary: Although not a single, the song is praised as one of New Order’s best and most deeply emotive tracks, heavily featuring Peter Hook’s favorite bass lines. Sumner’s vocals appear late in the song, following an instrumental section influenced by NYC hip-hop rhythms and synths.
Peter Hook: The Ten Best New Order Songs (from his memoir “Substance: Inside New Order“):
1. “Thieves Like Us”
2. “Leave Me Alone”
3. “Homage” (unreleased)
4. “Too Late” (John Peel session)
5. “Someone Like You”
6. “Ruined in a Day” (K-KLass Remix)
7. “Every Little Counts”
8. “Age of Consent”
9. “Temptation”
10. “Eligia”

“Lonesome Tonight” (1984)

Commentary: This song is viewed as New Order’s ode to Elvis Presley, resulting from a C-F chord improvisation that Hook calls “a glorious tune even though it’s nothing like Elvis’,” which served as the b-side to “Thieves Like Us.” The instrumental build-up evokes Joy Division’s “Atmosphere,” and Hook humorously notes his own reaction during the performance.

“Murder” (1984)

Commentary: This track is described as a tour-de-force, featuring Stephen Morris’ propulsive drumming, sinister bass lines from Hook and Sumner, and creative use of movie samples (Hal in *2001: A Space Odyssey, Malcolm McDowell in *Caligula). It appeared on the second disc of the Substance two-CD set.

“Elegia” (full version) (1985)

Commentary: An ode to Ennio Morricone’s scores, specifically referencing the pocket watch scene from A Few Dollars More. The instrumental is praised for its pacing and emotional swell, with Hook’s bass melodies noted as majestic. It also appeared in Pretty in Pink, Stranger Things, and the Metal Gear Solid 5: Phantom Pain trailer.

“Sooner Than You Think” (1985)

Commentary: This track is cited as evidence of New Order’s versatility in blending rock and club music. It features a gradual shift from an instrumental intro to a focus on keyboards, showing how well the band could intermingle diverse musical elements. The lyrics reference a party in Zurich.

“Face Up” (1985)

Commentary: This song is described as pure ebullience, contrasting with the theme of spurned love in the lyrics (“Oh how I cannot bear the thought of you”). It is noted for its dramatic shift between an atmospheric intro and a highly energetic chorus.

“Way of Life” (1986)

Commentary: This track demonstrates New Order’s continued ability to balance rock instrumentation with pop sensibilities, exemplified by the album Brotherhood.

“Every Little Counts” (1986)

Commentary: The song is noted for its balance of playful lyrics and powerful musical elements. It features memorable lyric phrases that cause laughter among listeners, alongside a massive swell from the Emulator sampling keyboard.

“1963” (1987)

Commentary: This track is compared to “The Perfect Kiss” and is viewed as an ode to a doomed relationship set to synthpop. Arthur Baker’s remix is mentioned for incorporating more string instruments.

“Vanishing Point” (1989)

Commentary: This song is highlighted as one of New Order’s finest electronic dance tracks, featuring cinematic lead-ins and a dynamic breakdown that reflects the energy of their time in Ibiza.

“Dream Attack” (1989)

Commentary: The album closes with this track, which is seen as bringing the entire record together by mixing guitar solos, orchestral samples, sequencers, and live drums. It is described as bright, breezy, and uplifting.