Originally released : May 1983
Originally purchased : Spring 1988
I still owe thanks to classmate Andrew Simmons for recommending Substance to me one day in late 1987. It profoundly changed my life.
Fresh off of my "discovery" of Substance, I felt the need to jump into the entire New Order back catalog. Being 16 years old at the time meant limited funds, so I started off slow. I purchased the cassette of Power, Corruption & Lies due mostly to the inclusion of "Blue Monday" to the American released version.
At first I was struck by how similar in style the songs were to that of Substance. Mostly electronic, heavily synthesized with drum machines. I particularly enjoyed "We All Stand" and especially "586" as these fell into my newly acquired New Order comfort zone. I found something in this album that I would not find in follow-up releases Low Life and Brotherhood, which just didn't feel as polished to me. I always felt I made the right choice with this album as a guidepost to lead me on my Mancunian musical journey. However, with the release of Technique in January 1989 and emergence of Joy Division as the heavier influence on me, Power, Corruption & Lies became a footnote. A mere stepping stone that lead to a whole new world of music, alternative and otherwise, that would dominate my landscape for years to come.
Fresh off of my "discovery" of Substance, I felt the need to jump into the entire New Order back catalog. Being 16 years old at the time meant limited funds, so I started off slow. I purchased the cassette of Power, Corruption & Lies due mostly to the inclusion of "Blue Monday" to the American released version.
At first I was struck by how similar in style the songs were to that of Substance. Mostly electronic, heavily synthesized with drum machines. I particularly enjoyed "We All Stand" and especially "586" as these fell into my newly acquired New Order comfort zone. I found something in this album that I would not find in follow-up releases Low Life and Brotherhood, which just didn't feel as polished to me. I always felt I made the right choice with this album as a guidepost to lead me on my Mancunian musical journey. However, with the release of Technique in January 1989 and emergence of Joy Division as the heavier influence on me, Power, Corruption & Lies became a footnote. A mere stepping stone that lead to a whole new world of music, alternative and otherwise, that would dominate my landscape for years to come.
Years went by, and though songs from this album would make token appearances on any New Order compilation I would make, whether it be cassette, cd or now iPod playlist, it was not until recently when a friend quoted a lyric from "Your Silent Face" that I decided to revisit the album as a whole. Something long overdue. I realize now that 22 years since first acquiring the album, I may have overlooked the shining jewel in the entire New Order catalogue, never giving it its proper due credit.
Understanding the significance of Power, Corruption & Lies depends largely on how well one understands the early history of New Order, specifically how it emerged from the ashes of Joy Division, which is an entirely different story, yet completely relevant. (If you don't know Joy Division, trust me. Go find out. It is a discovery worth making.) It is clear to me now that the first post-Joy Division album, Movement, as well as the singles "Everything's Gone Green" and "Procession" along with their various b-sides, gorgeous songs in their own right, are evidence of a band in transition. It is clear that the band were trying to find its own style, but clung to its roots, both musically and lyrically. Some of Bernard Sumners' early lyrics are clearly attempts to channel Ian Curtis.
"Line of force from heaven/Tear in a stranger's eye/Then it goes forever/Where all things never die" - "I.C.B." from Movement
Though some of those early songs are fantastic, ("Procession" is indeed my favorite New Order song) a lot of it feels contrived. A lot of it has the feel of a band trying to find its legs. It is with the release of "Temptation" in 1982 where the band begins to separate itself from its past. Here was a song that was original in style, with only hints from the past incarnation. The most significant departure was lyrically, as if Bernard Sumner stopped trying to write profoundly deep lyrics. As if he was writing what he felt like writing instead of what he thought he was supposed to write. March 1983 saw the release of "Blue Monday," an electronic dance masterpiece, which sent the band's stock soaring. Their second full album, Power, Corruption & Lies would be released two months later.
When the opening bass guitar notes of "Age Of Consent" first come out of the speakers, you immediately know you're not going to hear anything like you heard on Movement. The song is upbeat, borderline danceable, and vaguely happy sounding. A straightforward alternative rock song, it is the antithesis to "Blue Monday." And, as is consistent with most New Order songs, the title has little to no relevance to the lyrics, which are more free-flowing and carefree. The words rhyme, yet they are awkwardly charming.
"And I'm not the kind that likes to tell you just what you want me to/You're not the kind that needs to tell me about the birds and the bees"
"Age Of Consent" also continues the Bernard Sumner tradition of accentuating certain lines with his trademark yelp. A low synth line backs the track before we hear any significant keyboards which fade out with the song. This is a brilliant opening track. The only thing that disappoints about the song is that it is now being used in a Target ad campaign. Oh well. If New Order can pitch for Sunkist soda, why not Target?
Understanding the significance of Power, Corruption & Lies depends largely on how well one understands the early history of New Order, specifically how it emerged from the ashes of Joy Division, which is an entirely different story, yet completely relevant. (If you don't know Joy Division, trust me. Go find out. It is a discovery worth making.) It is clear to me now that the first post-Joy Division album, Movement, as well as the singles "Everything's Gone Green" and "Procession" along with their various b-sides, gorgeous songs in their own right, are evidence of a band in transition. It is clear that the band were trying to find its own style, but clung to its roots, both musically and lyrically. Some of Bernard Sumners' early lyrics are clearly attempts to channel Ian Curtis.
"Line of force from heaven/Tear in a stranger's eye/Then it goes forever/Where all things never die" - "I.C.B." from Movement
Though some of those early songs are fantastic, ("Procession" is indeed my favorite New Order song) a lot of it feels contrived. A lot of it has the feel of a band trying to find its legs. It is with the release of "Temptation" in 1982 where the band begins to separate itself from its past. Here was a song that was original in style, with only hints from the past incarnation. The most significant departure was lyrically, as if Bernard Sumner stopped trying to write profoundly deep lyrics. As if he was writing what he felt like writing instead of what he thought he was supposed to write. March 1983 saw the release of "Blue Monday," an electronic dance masterpiece, which sent the band's stock soaring. Their second full album, Power, Corruption & Lies would be released two months later.
When the opening bass guitar notes of "Age Of Consent" first come out of the speakers, you immediately know you're not going to hear anything like you heard on Movement. The song is upbeat, borderline danceable, and vaguely happy sounding. A straightforward alternative rock song, it is the antithesis to "Blue Monday." And, as is consistent with most New Order songs, the title has little to no relevance to the lyrics, which are more free-flowing and carefree. The words rhyme, yet they are awkwardly charming.
"And I'm not the kind that likes to tell you just what you want me to/You're not the kind that needs to tell me about the birds and the bees"
"Age Of Consent" also continues the Bernard Sumner tradition of accentuating certain lines with his trademark yelp. A low synth line backs the track before we hear any significant keyboards which fade out with the song. This is a brilliant opening track. The only thing that disappoints about the song is that it is now being used in a Target ad campaign. Oh well. If New Order can pitch for Sunkist soda, why not Target?
Perhaps it was foreshadowing my soon to be discovered love of darker new wave music (Joy Division, The Cure) but the album's second track, "We All Stand," is one of my favorites from the album. Typically Joy Division-esque, the track begins with a looping Peter Hook bassline and a subdued, syncopated drum pattern from Stephen Morris. A synth line and guitar join later in the intro before Bernard's cryptic lyrics begin.
"Three miles to go... /At the end of the road/There's a soldier waiting for me"
I spent many listenings trying to understand, to no avail, what the hell that line meant.
Despite the guitar and keyboard's attempts to dominate the melody, for me it is the bassline that is the standout element of this track. It is a song that is difficult to move meaningfully along to, plodding along and almost demanding that you give it full attention as if it is going to say something profound. The best we get from Barney is something sounding vaguely dark.
"Life goes on in this true-to-life fantasy/Forever to be still/Breath held tight inside of me"
If there is any song on this album that harkens back to Joy Division, it would be this one. It is the darkest, gloomiest track on the album.
"The Village" gives you a taste of what would make New Order famous. That is, guitars being backed by a sequenced synth line and drum machine. This song is unlike "Blue Monday" in that it is has a more positive and upbeat feel to it, while not being particularly danceable. The drum track is not your typical four-on-the-floor pattern. Unlike the previous two album tracks, the guitars are layered almost as afterthoughts, providing accents to the synthesizers. Lyrically, it almost seems like it could be a love song.
"Oh our love is like the flowers/The rain, the sea and the hours"
You almost feel like you're hearing something uplifting and positive out of the lyrics, when Sumner closes with this puzzling line.
"Their love died three years ago/Spoken words I cannot show"
It is a fun, bouncy track that will please fans of the band's electronic sound. As the track draws to a close, the guitars drop off leaving only the drum track and sequencer playing when it abruptly ends...
...and leads into a short instrumental piece which is not titled nor defined as belonging to the song preceding it or "586" which follows it. The compact disc does attach the song to the latter, but who really knows? The only clue would be a rushing sound about midway through which appears at the intro to "586." This piece, lasting only 1:42, is dangerously catchy despite being musically sparse. The sequenced track is accented with a Peter Hook bassline during the second half, giving it enough melodic credibility to allow it to be that song that you find simmering in your brain while you should be doing something important. (like paying attention to your algebra assignments, as was likely my case in 1988)
This brings us to the aforementioned "586," which I feel is the album's centerpiece and standout track. The song begins as the previously mentioned instrumental piece fades out and the music slowly fades in quite dramatically. Fans of the danceable, synthpop more electronic New Order style will love this song. It is almost entirely built around the synthesizer and drum machine. There is an underlying Peter Hook bassline, but guitar is virtually non-existent. Unlike the Peel Sessions version, (which I'll get to later) the song doesn't waste any time jumping right out of the speakers and into your face as Sumner exclaims "I see danger!" with the last word repeated twice, in record-skipping fashion, as if to emphasize the urgency. The song moves along, with music starting and stopping as it goes. Sumner's lyrics are typically vague, but do convey a darker, angrier tone which really makes this song stand out, demanding to be noticed.
"When it happens/You will be no friend of mine/Take the first chance/When I am no longer free"
"In the future/when you want me in your heart/I won't be there/If you call out in the dark"
The lyrics conclude on an almost pleading note.
"Can you hear me deep inside/From these feelings I can't hide/Can you hear me calling you?"
The last line repeats several times and then the song concludes with a wordless coda that seems to take longer than it actually does. That may sound like a bad thing, but with the energy behind this song, you really don't notice. Then, as dramatically as the song begins, the instrumentation begins to drop off until only the drums and synth bass remain, tempo slowing to a crawl until it ends with a final thud.
"586" and the enormously popular single, "Blue Monday" share many traits. It wouldn't be fair to say they are musical cousins. They appear more like brothers. Their respective releases in 1983 are so close together, it is not known to me which one came first. Both songs were recorded in 1982, but only "586" was recorded during the Peel Sessions that same year.
Speaking of the Peel Sessions, the version of "586" presented there is musically different and has slight variations in the lyrics. Peter Hook's bassline is much more prominent and the synth lines seem more aggressive to me. Same song, completely different feel. This version is worth checking out as well.
So with all of these upbeat dance songs and guitar driven alternative pop songs dominating the lineup so far, who would have figured that a ballad would serve as the album's turning point? "Your Silent Face" throws any thoughts about New Order's convention right out the window. Another song dominated by drum machine and sequencers, but this one drops the tempo and the feel of the previous four tracks. After the intro, a tsunami of synth pad rolls in (sounding awesome at higher volumes) washing a warm wave over you. It rolls back and then Bernard breaks out the melodica for the part of the song you will be whistling for the rest of the day. It is over a minute before any lyrics appear, and though closer examination will show they are typically vague, the song's title and moody melody makes it seem like they have a deep, hidden meaning.
"A thought that never changes remains a stupid lie/It's never been quite the same"
"Rise and fall of shame/A search that shall remain/We asked you what you'd seen/You said you didn't care"
At this point we are introduced to a subdued, but powerful bass guitar and an underlying guitar line. The synth pad rolls in again and falls away as Bernard prepares for the second and final verse. More of the same here, except for the last line of the song. As if sensing the dramatic feel to the song was becoming a little too heavy, he concludes the spoken section with what is arguably the single greatest lyric in New Order's catalogue.
"You've caught me at a bad time/So why don't you piss off"
A short break followed by a repeat of the melodica line, then the synth, bass and guitar all join up to play out the remainder of the song. Straightforward New Order running on all cylinders. Brilliantly played.
"Ultraviolence" is a track that I think would have worked well as a Joy Division track. Again, standard New Order fare here. Synth bass, bass guitar, guitar all in moderation. A simple drum machine backing track with Stephen Morris providing supplemental Joy Division-esque drum fills. A decent track in its own right, but definitely not one of the album's stronger moments. It works well as a period piece in the sense that it bridges a gap between what was (Joy Division) what could have been (had Ian Curtis not committed suicide) and what would come (New Order's club popularity), but not much more. Here, New Order seems to be throwing off the last of the long shadow cast by their former incarnation.
Usually relegated to the realm of b-sides, "Ecstasy" is a rare album appearance for an instrumental. Even though it is more musically interesting that its predecessor, "Ecstasy" sounds like a studio jam thrown together, then added to the album because they felt it was worthy. The song has a feel like the band was just turning some knobs to see what interesting things they could do and came up with an electronic voice repeating the song's title. Probably the closest thing on the album to being filler.
Bringing the album to its conclusion is a proper bookend, "Leave Me Alone." Instrumentally and structurally similar to "Age Of Consent," this track is just your standard alternative rock affair. Starting immediately with bass and drums (no drum machine here) soon after joined by guitar and an underlying synth line. Bouncy and enjoyable, it's a progression that is constant throughout the entire song. Again, not as strong as the first part of the album, but interesting enough not to skip. Lyrically ambiguous once again, Bernard keeps it interesting. He gives somewhat of an anatomy lesson...
"From my head to my toes/To my teeth, through my nose"
...as well as a more civil way of saying "piss off."
"For these last few days leave me alone"
The final note is played and the album has reached its conclusion.
So upon further review, Power, Corruption & Lies can be described as an album that is never boring. It definitely has its proper place among the other releases in New Order's catalog. It is the album that stands in the road where looking back one can see the fading lights of the monstrous Joy Division legacy, and looking forward, the bright lights of the mid to late 1980s mainstream success. Even though it starts out stronger than it finishes, it is safely secure as an album that should remain forever influential. Many bands record material that are constant in content and style throughout. Power, Corruption & Lies relies on the band's musical diversity to make it stand out, while maintaining the band's integrity. Power, Corruption & Lies is definitely an album that I'm glad I decided to give another listen. Part milestone, part stepping stone, part signpost, and enjoyable to the very last note.
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