New Order – Music Complete (A Little Late Review)

Before I begin this review I have something to declare.

I am a bass player, and Peter Hook is one of my bass heroes. This album is New Order’s first since Hook left in 2007. Being a fan of Hook’s effects-laden melodic style, itself reminiscent of one of my other bass heroes’ playing style (John Entwhistle), I had to wonder: could New Order’s sound survive Hook’s departure?

The album is 11 tracks long, and features guests such as Iggy Pop, Brandon Flowers (The Killers) and Elly Jackson (La Roux). It also see the return of Gillian Gilbert on keyboards having temporarily left the band in 2001.

On the whole, it’s a great album and none of the tracks could be described as filler. The opening track, Restless, was the first single. It’s a good song, but to my ears (see above) I instantly missed Peter Hook as the bass playing sounded so pedestrian (by comparison). I know this is probably a little harsh, because as a bass player, Tom Chapman wouldn’t want to be seen to just imitate Hook’s style, and he doesn’t, so credit to him. Thoroughly competent, and perfectly played, but it wasn’t Peter.

Then we get Singularity, and this is the track that made me feel I was listening to classic New order again. It’s a wonderful drum machine driven track, with bass lines reminiscent of the early days, but with a much more polished sound.

Then things really kick off, with Plastic, Tutti Frutti, People On The High Line, all rocking along. Then things get dark and nasty (in a good way) with Iggy Pop leading the vocals (or just talking really) on Stray Dog. The rest after that is like listening to an early New Order album.

So does this album make me miss Peter Hook? Of course – the answer to that for me couldn’t be anything else but yes. But can New Order continue to survive without him? Definitely, no doubt at all. If you’re a New Order fan, this is definitely worth getting. If you haven’t already, then wait for Complete Music, which includes the original album and a disc of remixes.

8/10