New Order’s Technique at 35: A Quick Look at the Band’s Seminal 1989 Record

On their fifth release the dance rock pioneers hit their peak

Good Morning!

Today we’re taking a quick look at ‘Technique’ by New Order as it turns 35.


There’s not much point in burying the lede here; this lookback won’t come close to being objective. If you’ve been with us for more than a few weeks, you know my love for this band and are keenly aware that On Repeat could devolve into a New Order fan page at any moment.

That said, this record is a massive achievement for the band at a time when not much else was going right for them-certainly not internally, anyway. To put something out amidst so much strife and financial pressure alone would be worth noting. That it is some of the best work they’ve ever produced makes it all the more remarkable.


Most people will remember March 24th, 1989, as the date the Exxon Valdez ran aground. I remember walking to the closest shopping mall to get tickets to see New Order.

That was the closest Ticketmaster outlet, and I was probably halfway down the street before my mom had even finished giving me permission. With the benefit of hindsight — and now being a parent myself — I now know what a huge leap of faith this must’ve been for her. We lived in the suburbs, and she was giving the green light to an (almost) 14 yr. old to ride the bus across the metro area to see a band she heard nonstop but didn’t know.

I suppose on some level you just know when to let your kids leap


The band was on the road supporting their 5th studio album, Technique, and it came out when I was in junior high. The record was one of the bright spots in an otherwise blah era for me.

If Low Life is a show at an intimate venue, Technique is a sweaty rave filled with strobe lights and ecstasy. Indeed, the record was partly recorded in Ibiza with the band off their rockers. Technique is firmly rooted in the sounds surrounding them in their new environs. They choose the sunny locale at Hook’s insistence after a run of recordings made in “dark and horrible” London studios. The band decamped for Ibiza, hoping the change in scenery (and menu of drugs) would have the same positive effect that New York had had for them years earlier.

It worked…sort of…

After four months, the band only had ‘Fine Time’ and a couple of other tracks recorded to show for their time on the island. Declaring their holiday over, their label called them back to the UK, where they finished the record at Peter Gabriel’s Real World Studios.

We had expected to hear a lot of acid house music when we got to Ibiza because that had taken off in Manchester two to three months before we left, but we didn’t – we were hearing something called Balearic Beat,” Bernard said.We were actually disappointed at first because we were really into acid house, and what we heard, this Balearic Beat, was this crazy mash-up of styles and really commercial-sounding but there was also some really good stuff. By the end of our time there we were really influenced by it.

Their time in the sun may seem unproductive on the surface, but it had left an indelible mark on the group’s sound.

Fine Time is an acid-house Balearic Beat classic. Round and Round1 is pop perfection and saw decent airtime on MTV.

Run is credited to not only New Order, but also (*checks notes) John Denver?!

Yes, really. Denver sued the band, alleging that the guitar riffs were lifted from his Leaving On a Jet Plane.The case was settled out of court, with his name subsequently added to the credits.

A mediocre picture of the fantastic ‘Fine Time’ 12”


We could do a track-by-track breakdown, but the short version is this: Technique feels like the band’s most honest record. Whether that’s down to the drugs or the Balearic sun, I don’t know. In the end, I suppose it doesn’t matter.

Perhaps more importantly, it is economical. Listening to it, every note has its place, and there is nothing extraneous. It’s both a dance record and a pop record—in other words, a New Order record—but listening to it, there is a discipline that sets it apart from the band’s previous work.

The songs themselves are compact; the sequencers nailed down— there is no 9-minute version of anything on this LP. By this point, the band had also mastered the art of shifting between pop and dance tracks.

On Brotherhood, a distinct boundary exists between the two (literally- the styles each have their own side on the album). There are no guardrails here; the band makes segueing between styles look easy.

All of that is well and good, but why is it my number 1?

Technique was really the first record by the band that I found on my own. Yes, I knew them. Yes, I’d heard almost everything they had recorded up to that point. But this was different; I’d learned of its release on my own and gone and bought it with my own money.

No hand-me-downs from friends’ older siblings or songs clipped from mix tapes. You always remember your first…

Good records always take you somewhere special. Thirty-five years later, Technique still does that for me.



Listen:

New Order | Technique, 1989

Click the record to listen on the platform of your choice.

What are your thoughts on this record? Do you have any favorite tracks or memories associated with it? At 35, does it still hold up? Share your thoughts in the comments!


Thanks for being here,

Kevin—

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The video features several supermodels, including Elaine Irwin, who would marry John Mellencamp a couple of years later, and Cynthia Bailey, who would rise to fame when cast on Bravo’s ‘The Real Housewives of Atlanta’ reality series.

Let’s Active- “Every Word Means No”

Good Morning!

Today we’re listening to “Every Word Means No” by Let’s Active

The line of producers that also perform in bands is long; Butch Vig & Garbage, Steve Albini & Big Black, and Brett Gurewitz of Bad Religion, to name just a few. On that same list is Mitch Easter. Easter has spent decades helping other artists get their sounds out into the world as a producer. He was behind the boards for The Connells’ Boylan Heights, Suzanne Vega’s Solitude Standing, Marshall Crenshaw’s Downtown, and many more.

From his Drive-In studio (so named because it literally was his parent’s two-car garage) also came such classics as REM’s Murmur, Chronic Town, and Reckoning. Arguably the band’s best run.

[The studio] was tiny. The entire space was probably about 225 square feet. It was a two-car garage that had been divided up before my parents got the place. The previous owners split it up and turned it into a one-car garage, and then the other half they made into a children’s bedroom and this sort of utility room. The car area was where the band stood together, the children’s bedroom was the control room, and I think the bass and guitar amps were isolated in the little utility area next to the control room.

~Mitch Easter


As R.E.M.’s stature increased, so too did Easter’s. It only makes sense, right? His track record of exporting sounds from the Southeast US to college radio stations nationwide was indisputable. Why not do the same thing on the other side of the recording booth?

Let’s Active was originally formed with Easter and Faye Hunter on bass. Drummer Sara Romweber—just 17 at the time— joined soon after. The Afoot EP was released in 1983 (and again in 1989 after being combined with the Cypress LP). Along with Afoot, the band released 3 LPs before splitting up in 1990.

“We didn’t have hits in the conventional kind of way at all, but that song got to be well known. It was played on college radio and stuff like that.”

“Every Word Means No” became the band’s biggest song, and while it didn’t exactly scream up the charts, it became fairly well-known and was even covered by Smash Mouth in the late 90s. That may have been the final step on the band’s path from indie darlings to cult heroes to the subject of a tribute album.



More:

North Carolina’s Let’s Active was probably the most misunderstood of the South’s ’80s new-pop bands. Though dogged by a rosy-cheeked nicest-guys-of-wimp-pop image, they could be downright moody. Producer/multi-instrumentalist Mitch Easter assembled the trio in 1981, but it only emerged nationally in the wake of R.E.M., whose first two discs Easter co-produced at his Drive-In garage studio outside of Winston-Salem, North Carolina. Joining that band’s label, Let’s Active released a six-song EP, Afoot, bringing new meaning to such overused pop adjectives as crisp, bright and ringing. All the songs, even those with melancholy lyrics, are hook-filled, boppy and ultra-hummable.

Click here to read the rest of the overview.

Listen:

“Every Word Means No” by Let’s Active | Afoot (EP), 1983

Why Yo La Tengo’s ‘This Stupid World’ Could Be Your New Favorite Album

There are two sides to Yo La Tengo. Both are very good sides.

The first is quiet, contemplative Yo La Tengo. That’s the one we’ve seen the most of in recent years. Sometimes haunting and/or listless, other times endearing. Occasionally, like on tracks like Looney Tunes, a sonic lazy river that seemingly stretches forever.

The second is rocking Yo la Tengo. Sometimes it’s vaguely menacing, as with tracks like Shaker. The sound is locomotive. I’ll also include their poppier side and impeccable taste in picking covers here.

Either way, they’re giving us straight rippers with Kaplan barely in control, playing like one of those inflatable wavy guys you see at low-rent used car lots.

Instead of a specific direction, they just chose ‘em all

Messy. Precise. Jarring. Soothing. Over the last forty(ish) years, Yo La Tengo have consistently been an exercise in contradiction. And yet somehow, it all fits together nicely, as it’s supposed to. 

This is one of those bands that always sound like themselves, no matter what boundary they’re pushing or which norm they’re winging out a third-story window.

It’s always a YLT record, ya know?

On their latest release, “This Stupid World,” they’ve kept all of that going.

Sidebar: Yo La Tengo can be a band that makes you work before you get it. The full listening experience requires intention. There’s friction. The effort is always worth it, though, with something new revealing itself with every spin. And while they have some songs that could broadly be classified as singles, this band’s work is best heard from A1 to the closer.

So I have to say that for as much hype as there was leading up to the release of This Stupid World, I’m grateful that they only released a couple of tracks ahead of time. Hearing the record unfold for the first time is a joy. 


The record opens strong with Sinatra Drive Breakdown. Look, I know “motorik” is fast becoming the most overused adjective in my arsenal, right up there with “awesome” and “fantastic.” but for this track, it fits. Just trust me here.

Drummer Georgia Hubley and bassist James “new guy since ‘92” Mcnew lay down a killer groove that promptly chugs on for 7+ minutes. So much for radio-friendly.

Another rule proudly ignored.

Next up is “Fallout,” easily their most pure pop offering since perhaps Ohm off of Fade, or Electr-O-Pura’s Tom Courtenay. With an easy rhythm and quasi-call-and-response-like chorus of:

Wanna fall out, fall out of time
Wanna fall out, fall out of time
Wanna fall out, fall out of time
Wanna fall out, fall out of time

Don’t be surprised if you get caught singing this at a red light. I’m not saying this has happened to me, but I’m not not saying it, either.

This band is famously introverted, with Hubley sometimes giving the impression that she’s using the drum kit as a shield. But perhaps more than anyone else, she has come more into her own with each release.

On “Aselestine,” her vocals are unguarded & lovely, even as she’s singing Where are you/The drugs don’t do/What you said they do.

On closer, “Miles Away,” they’re endearing as she laments those she’s lost along the way.

You feel alone
Friends are all gone
Keep wiping the dust from your eyes
So many signs
I must be blind
How few of them I see

But to get there, we get to get through a few more tracksKaplan’s usual knack for squishing an entire backstory into a paragraph is on display throughout the record, but perhaps no more so than on Apology Letter, where he sings:

It’s so clear
What I’m trying to say, but right on cue
It doesn’t ever come that easily
‘Cause the words
Derail on the way from me to you
It seems to happen with some frequency
Depressingly


Brain Capers is expansive and rides a thick groove. It’s relentless—and it’s my favorite song on the record. Kaplan is in full glorious wavy inflatable guy mode here.

The title track is a steely shoegaze monster. A weighted blanket of the band’s distortion and feedback, with Kaplan telling us, “This stupid world, it’s all we have.”

They know the only way out is through, and this is their way of telling us that if it’s not gonna end well, we can at least have a good time on the way down.


Bottom Line: Yo La Tengo has never been a band that fits nicely in a box, and 2023’s no time to start. They’ve gone from critics darling to your favorite band’s favorite band to indie rock elder statesmen.

And all of that from a band that feels more like neighbors you’d ask to watch your house while on vacation.

With seventeen records and a bunch of EPs and singles, this would’ve been a fine capstone to a storied discography. Instead, it feels like a band hitting its stride with the best yet to come. 

The 5 Latest Additions to My Record Collection

Another “little bit of everything” edition

B-Side records. Photo: Henry Alexander

Here’s to great teachers!

My son has photography as an elective this semester, and his class took a field trip downtown last week.

Remember when we’d get excited to see a teacher roll a TV in on a cart, and it was movie day? You knew you could just relax and kinda mail it in? This is the educator’s equivalent. There are 2–3 stops every school in this town makes, and regardless of what year you go, you usually come away being able to tell the same story- we went to the capital, we took some shots of the lake, etc. Only the clothes change.

Except that’s not what happened this time.

Sure, they touched all the usual bases, but somewhere along the way, she decided they should stop into one of the record stores downtown. This particular shop is small enough that you have to know how to sidle to navigate it, so 25 kids must’ve seemed like…a LOT.

But more than a few kids picked up some records, which was apparently the day’s highlight. My son grabbed a couple of hip-hop records I’d never touch, but I gotta say it was pretty cool to get a text asking if he could grab ’em.

My point in telling you all of this? Two things. First, sometimes even the most rudimentary experiences can wind up being novel.

Second, you never know what you’re gonna find in the crates. I guarantee my kid didn’t wake up that morning knowing he’d come home with two records, but that’s exactly what happened (and some really good pictures too). But that’s half the fun of going crate digging in the first place, right?

You might walk in with a list, but when another LP leaps into your arms? That makes it all worthwhile.

A few days prior, I’d gone on my own field trip to my usual store just a short distance away. I went 0-for-everything as far as my list went but came away with several other records I didn’t know I needed until they told me.

Yo La Tengo- Fade (OLE 944–1, 2013)

Lately, I’ve listened to more & more Yo La Tengo. It’s a deep discography, and few rabbit holes are more fun to jump down.

Part of the appeal is that their music requires attention. I mean, you can have it on in the background — especially a record like The Sounds of the Sounds of Science — but it’s best experienced intentionally. When one does so, the songs reveal something new every time.

I’ve been rotating through the trio of This Stupid WorldPainful (my favorite), and Fade. Yo La Tengo can be alternately cool or confessional. Fade splits the difference. Opener “Ohm” is easily one of the poppiest songs they’ve ever created, and “Paddle Forward” feels vaguely unsettling.

Both are fantastic work.

Cleaners from Venus- Midnight Cleaners (reissue, CT-147, 2012)

If Guided By Voices’ Robert Pollard has a spirit animal, it’s The Cleaners from Venus’ Martin Newell.

I’m convinced, and It’ll only take a track or two from each band for you to buy in as well.

This record is split between an “art side” and a “pop side.” The latter has some of the best infectious lo-fi sounds going.

I’d been looking for this for quite a while before happening on it in the wild. It’s a reissue, but I’m cool with it. That’s for the purists on Discogs & AllMusic to quibble about.

Delaney & Bonnie– Accept No Substitutes (EKS-74039, 1969)

It’s ironic that the first words we hear on this record are, “We’ve got to get ourselves together/take some time and talk it over/we’ve got to get ourselves together/try to understand each other.”

By most accounts, the entire session was a hot mess, with everyone at each other’s throats and no shortage of screaming at one another.

At some point, each musician took their turn storming out of the studio. Dr. John wrote the track “When The Battle Is Over” and came in to teach the band how to play it- he also was kicking heroin at the time and was in full detox mode, sweating and shivering as he forced his way through the track.

Despite all that, something magical happened. Having a backing band that included Leon Russell, Jim Keltner, and Rita Coolidge (among others) surely helped. This record perfectly blends white soul, blues, and a good dose of kicks rocks. It’s raw, and my copy is a little rough around the edges- just like the music itself.

It’s an easy album to get into despite what it took to get it made.

Note: Bonnie & Delaney’s daughter Bekka, was Fleetwood Mac’s singer on Behind The Mask & Time along with her partner guitarist Billy Burnette

George Symonette & his Goombay Sextette, S/T (BR 34, 1961)

I am still on my Caribbean music kick, which fits the bill nicely. We’ve entered the “false spring” stage of winter up here, where it alternates between temps flirting with the ’50s and slush. It’s bleak, and some sunny rhythms go a long way toward making that tolerable.

Sidebar: One of my favorite things about some of these older records is the completely unpretentious nature of the liner notes, or in this case, the back cover:

The Dean of Bahamian Entertainers, Genial George Symonette finds it more convenient to sit sideways while accompanying himself at the piano. He plays and sings because he enjoys doing so and his natural humor and joi de vivre sparkle in his performance.

While formerly catering only to night club patrons George Symonette has now responded to the demands of a wider audience and is a familiar part of the Bay Street scene during the lunch hour as well as in the evening.

He is frequently accompanied by Berkeley “Peanuts” Taylor on Bongos and drums and the two entertainers have appeared together on several television programs, notably Today and Tonight.

The label advertised it as “Strong VG,” and at $4.99, it was a strong bet that I’d like this. And I did.

Pretenders- S/T (SRK0 6083, 1979)

Probably the one record on this list every reader had but me. I don’t know why it took me so long to find a copy of this. There are a bazillion of ’em out there, but somehow I could never find just the right one. Poor condition, too much money; some reason or another always managed to get in the way. Until now.

And what a record! From opener “Precious” to closer Mystery Achievement, there isn’t a skip in the lot.

So how about you? Found any good records lately? Have any thoughts on the ones I picked up? Share your thoughts in the comments!

Bloomington Indiana: On this day in 1954, a baby was born to an ophthalmologist and teacher.

Almost from the word go, the child showed an interest in art-especially music & the radio. He was also hyper. Like, really hyper — enough so that his parents referred to it as “monkey hour,” and sent him to a psychiatrist for several years.

After a brief stay in Massachusetts, the family settled in Pasadena, Ca. Now in his late teens, the boy began singing in a band called the Red Ball Jets.

Another band named Mammoth featuring brothers on guitar and drums would occasionally rent the band’s PA system. Through a few twists and turns, the singer joined the brother’s band, they changed the name, and the rest is history.

The brothers? Eddie & Alex Van Halen.

The singer? David Lee Roth

23.July.2021

“It’s easy to go somewhere and win a championship with somebody else … this is the hard way to do it and we did it.”  
~
Giannis Antetokounmpo 

A huge part of the larger discourse of late has been the rise of social media, and the influence it has on the populace. There is no shortage of analysis and/or hot takes on the massive scale of Facebook (or the calls to #DeleteFacebook), the often arbitrary moderation of Twitter, and whateverthehell Parler was.

The latter was effectively erased from existence, but not before a lot of people made sure we all knew they thought their freedom of speech was being infringed on.

And of course, since nature abhors a vacuum, now we have Gettr. So that’s fun.

We also have Facebook back in the news again (do they ever really leave?), after President Biden was quoted as saying “they’re killing people.”

Are they? Maybe, maybe not. Obviously, no one from Menlo Park is pulling a literal trigger, but it’s hard to ignore the platform’s reach, and how well it works as an accelerator for misinformation. One can fairly easily draw a line between bad info on social media, resistance to receiving vaccines, and an increase in COVID-related deaths. 

And when just 12 people are responsible for the majority of bad info? That’s a very real problem we need to (collectively) address.

Regardless of where you stand on Facebook (or Parler’s extinction), I hope we can all agree on 2 truths:

1. Civics needs to make a return to our school’s curriculum, post haste. Critical Thinking too.

2. For all intents and purposes, social media IStoday’s Town Square. It’s where we go to share ideas, get on our (cyber) soapbox, and debate. The discourse isn’t happening down the street- it’s on your screen.

The First Amendment doesn’t apply to private companies, and everyone has to consent to a platform’s Terms of Service as a condition of participation. The easy answer here is to point to that, and say “if you don’t like it, leave.” I know, I’ve done it. But maybe the better solution is to model Terms of Service after the First Amendment.

It’s pretty clear that online is where people are now assembling, and as broad as it is, 1A still has defined guardrails. I don’t think you could legislate (read: force) companies to do this, but it’s certainly a model worth looking into going forward, even if it’s hard—especially if it means saving lives. 

Don’t @ me*.

*Actually, you should totally @ me! I’d love to hear your thoughts.