The Rundown: Movement

The Rundown is a semi-regular feature on Def in June where we assess old and new albums on a track by track basis. Not to be taken strictly as a review of the record in question, it is intended to serve as an assessment of album craft, an artist's songwriting quirks and overall place in their discography. Yes, it's quite nerdy. This is what we do. Our inaugural series will look at Rhino's recent reissues of New Order's five albums for Factory Records.


It's important to keep in mind that New Order has always really had two stories, two parallel but not always intersecting histories. The first (and most well known) is New Order: The Singles Band. The second, and our focus this week is New Order: The Albums Band. Any assesment of Movement as an album must keep in mind that during it's writing and recording process the band was releasing such classic 12" records as "Ceremony" and "Everything's Gone Green". Standing in the shadow of those records and the almost monolithic legend of Ian Curtis and Joy Division it becomes somewhat clear why Movement is frequently cited as one of the weakest albums in the New Order discography. It isn't a bad record, it simply can't help be outshined by what was proceeded it. It's also not entirely unwarranted to say that the band had not yet crystallized as a unit in it's own right, despite Gillian Gilbert's addition to the lineup. In fact, the band had not actually settled on a vocalist when they entered the studio with JD producer Martin Hannet in 1980. With that in mind, it holds a great deal of interest as a document of the group's evolution, the finding of feet and exorcism of a few notable demons.

The Rundown: New Order Movement (Factory Records)
Released: March 13th, 1981
Personnel: Bernard Sumner, Peter Hook, Gillian Gilbert, Stephen Morris
Producer: Martin Hannet

DREAMS NEVER END

A sister song to "Ceremony" featuring the same propulsive bounce and energy and the same melancholic sentiment. Listening to the bassline lends some credence to Peter Hook's claims that Cure bassist Simon Gallup copied his style. One of the two tracks that Peter Hook sings lead on.

TRUTH

Not overly remarkable in any way other than it's not inconsiderable debt to Joy Division's Closer era songwriting. The guitar has more of a distorted wall-of-noise sound then is typical of Bernard Sumner.

SENSES

Deep synth sweeps and a distinctly Peter Hook style lead with a pretty forgettable vocal, seems more like an instrumental really. Really starts to cook in the last minute with some fantastic interplay between the drums, bass and keyboards.

CHOSEN TIME

Once again reminiscent of the latter Joy Division era, and once again suffering from Bernard's lack of an identity as a vocalist. Still pretty good, and the added percussion at the end sort of presages "Blue Monday".

ICB

Fantastic song, Bernard is actually starting to sound like Bernard, and the laser beam synth blips (a la Insight) are an excellent production touch. The band claims that Martin Hannet didn't do much other than smoke and drink during these sessions, but his fingerprints are all over tracks like this one.

THE HIM

Almost a straight Joy Division number from it's "Atrocity Exhibition" drums on up. Pretty good for being that though and probably the best of the songs like it that appear on the album. The lyrics especially have a Curtisian bent, "Small boy kneels, wandering in a great hall/He pays pennance to the air above him".

DOUBTS EVEN HERE

The second Peter Hook vocal on the album (and his last in their discography). Long on keyboard driven atmosphere, and some spoken contributions from Gillian. One of the songs that I always remember as standing out on the album but I couldn't say why.

DENIAL

Gillian's keyboards really sell this one. Ominous and propulsive, and kind of counterintuitive in it's placement as last song, it feels like it would fit more cleanly mid album. It's abrupt ending caps off the album's identity crisis, emerging from one incarnation, unsure of where it would go.

REISSUE BONUS DISK MATERIAL

The complete a and b sides for the "Ceremony", "Everything's Gone Green" and "Procession" singles, as well as the 7" and 12" versions of "Temptation". Kind of jarring to listen to after Movement, despite much of it being recorded and released concurrently with the album this material feels distinctly more assured and New Order-like.

Special Bonus Video: New Order performing "The Him" live at Glastonbury, 1981.