Customer Reviews

Republic

5 star:		(15)
4 star:		(19)
3 star:		(12)
2 star:		(5)
1 star:		(0)

 

 

This album is now 12 years old- a scary thought for those of us who were around for the original release! So disorienting to think that much time has passed...

Anyhow, I rate myself as "moderate" New Order fan. I am familiar with more than just the singles they played on the radio, but don't own everything they ever released. So please qualify my review under this premise.

This album continues to get slagged by the hardcore fans, as you will read. But, I'd like to remind everyone how much music changed from the late eighties to the early nineties. Some of New Order's peers in the New Wave/Postmodern movement were The Cure, Depeche Mode, and Erasure. Consider, then, how each of these groups' early-nineties releases differed from the preceding album(s). The Cure's quintessential album, 1989's Distintegration, was followed by Wish, an album that signaled a break with the past sound. Erasure released their Wild! album also in 1989, which was their most brilliant use of synthesizers, and a fan favorite. Then, they released Chorus in 1991, another cult favorite. But, in 1994, I Say, I Say, I Say came out, a dreamy album that was gorgeous, but not as anthemic as Wild! or Chorus. Finally, after the zenith of the 101 live album, Depeche Mode had chart-topping hits with Violator from 1990, another benchmark album. But, a couple of years later, they decided to go grunge with Songs of Faith and Devotion.

Maybe we were entering a new cosmic age, but the sonic landscape shifted, and we lost that classic vinyl sound from our favorite New Wave groups.

After buying the new album, Waiting for the Sirens' Call, I want to buy Technique again, which I only owned on cassette. Regret was, and is, a wonderful song, a real standout on the radio at the time of the album's release. It was something positive and uplifting, which we could really use right now. World (Price of Love) gave them another modern-rock radio hit, but it always struck me as a bit generic, though still very tuneful. The opening of Spooky floored me the first time I heard it- that electronic voice saying "bass volcanica" (or whatever). I drove my sister nuts one day by rewinding the cassette over and over to play that part. Ruined in a Day is pensive and melodic, that blessedly features an orchestral sound. And Everyone, Everywhere is anthemic, with that guitar hook that won't let you go.

The rest of the album has its moments, but there is a vague sense of dissatisfaction after the end of it all. Still, for those of us who can't relate to the pre-manufactured manure filling the radio waves these days, Technique worthy at least of an occasional spin. Remember, New Order's second-best is far superior to anything we hear today!

With 1989's TECHNIQUE, New Order had created their most commercially successful work yet, especially seeing as how most of their most famous songs from their previous albums were all big on the dance charts more than pop (it took until 1987's "True Faith" for New Order to crack the Hot 100). Songs like "Round & Round" & "Fine Time" proved New Order could easily create a hit single as well as a club anthem. Not to mention, the album was probably the band's best since 1983's POWER, CORRUPTION & LIES (home to New Order's signature song, "Blue Monday", which later hit the pop charts in a remixed version). Maybe success & the strain of it caused New Order to fragment slightly, for the recording of the follow-up to TECHNIQUE was said to be quite difficult, laying the foundation for the band's eventual 8-year hiatus. Indeed, 1993's REPUBLIC is a fine work, especially considering the signs of band turmoil are quite minimal.

If there was one good thing to come out of the tough sessions for REPUBLIC (which wound up being the highest charting album of their career), it was the song that would become New Order's second top 40 hit (after "True Faith"): "Regret". Of course, one could never fault the band for being original in their songwriting, but maybe that's because they're specializing in a genre that tends to downplay lyrical importance in favor of a good beat. However, with "Regret", New Order manages to create poetry out of simplicity, and while it is another entry in the "woe-is-me" category of music, Bernard Sumner just might be hinting at some sense of hope in his usual deadpan vocal delivery. The prominent use of electric guitar (not often appreciated in a genre like techno or dance) helps foreshadow the more full-blown use of it on 2001's GET READY.

Speaking of good beats, REPUBLIC certainly has its share of body-slamming rhythms that are placed smack dab in the middle of the song (maybe this was co-producer Stephen Hague's idea), often obscuring the words which sometimes manage to rise above New Order's typical underachiever approach to them. The hip-hop-influenced second single "World [The Price Of Love]", similarly-inspired fourth single "Spooky", "Everyone Everywhere", "Young Offender", "Liar" (can be considered just as much funk as dance), "Chemical" (particularly whiplash-inducing) & "Times Change" have dance floor written all over them & I'm sure all of these managed to get remixed in some form another to create even more energetic rhythms to dance the night away.

To match their sometimes-soul-searching lyrical ideas, New Order can also create much smoother songs with fewer beats per minute, yet still invite the occasional sway. The third single "Ruined In A Day", "Special" (the closest thing to an upbeat love song New Order has ever done) & the closing instrumental "Avalanche" have the band favoring a quieter approach that nearly borders on trip-hop, which was still a few years away from entering the mainstream. Sumner particularly shines on these slower numbers, making the sense of melancholy in his singing even more apparent.

Perhaps New Order would not consider REPUBLIC high up on their list of favorite albums because of the apparent infighting going on at the time of its recording. But to their credit, they managed to create music that belies any sort of trouble in the camp & can be enjoyed when forgetting about that fact. The only negative thing about it is that for the time New Order was gone, they never officially stated if they were on hiatus or disbanding, leaving their fans hanging for 8 long years. But the positive thing is that they left us with a good-enough album like REPUBLIC & would only go up a notch higher once they eventually came back.

This is the first New Order album I have bought. Knowing a good deal of New Order's singles, I thought it was about time I purchased one of their albums. I bought this particular one for the fantastic single and opener `Regret', which ranks up there with Blue Monday and World In Motion as one of the best New Order singles ever and because I had heard it mentioned as one of the better New Order albums. Having explored the subject a little further since buying it, I have seen that it is not generally regarded as the best, but I love it.

`Regret' in fact turns out to be a bit of a red herring for the album, as it hints that this album would tend towards indie as opposed to dance, the two genres they balance so immaculately in their music. Instead, while not being quite as dancey as much of what I've heard of it's predecessor `Technique', it does feature synthy hooks and bass lines in many of the tracks. Some of New Order's dancey stuff can threaten to turn into cheesy dance, but Bernard's distinctive vocals always save the day, and on Republic they don't need to save the day as the backing too is good. Second track `World' is catchy and infused with a good beat.

Part of the attraction of this album is its ability to lay down dance-infused drums and bass before adding strings, vocals and guitars that give it a different feel. This is particularly evident on `Spooky'. It almost seems sometimes like the album is alternating between the more indie tracks on odd numbers and the more dance track on evens. It is the drums particularly that give this effect, with more raw, real drumbeats on odd tracks and faster, more synthy beats on even tracks. I wonder if these two sides to the album are deliberately reflected in the cover artwork, with the burning house and people playing on the beach. Anyway, I love both styles. Bernard's lyrics can sometime contain lazy rhymes in New Order songs, but on Republic they are striking and excellent.

Originally my favourite track here was `Regret', but `Times Change' is my new favourite. This is New Order at their best, with ominous minor keyboard chords, a very sad-sounding riff played on some keyboard-synthed instrument and Bernard doing a sort of downbeat, lazy-sounding white-man rap in the same style as fellow 80s indie-dance crossover band Pet Shop Boys' West End Girls. It sounds tired and in its own way is quite heartbreaking, as is the sung chorus. Add synthy bass, occasional orchestral hits, and a fantastic tune which combines with the riff seamlessly, and you have one of the best New Order tracks ever.

Finally another standout is the ambient, magical-sounding closer `Avalanche'. This album gets 4 ½ stars from me, though I have set the rating to 4 as this is not possible. The album is excellent but not quite good enough to get that elusive 5 star rating. Regret and Times Change certainly gain 5 stars though, and the rest of the album is at least 4 stars, with no duds: despite a number of dance tracks, there is not a single slice of cheese. If this isn't New Order's best, as I am told, then I can't wait to hear what is! 4 stars.

I can tell what type of New Order fan you are by how you answer a single simple question: Do you think "Regret" is one of the band's finest songs? If not, you almost certainly like the band's 1980's albums better (probably much better) than three post-80's releases. As to the other type of fan, which definitely includes yours truly, "Regret" weighs in easily as one of New Order's best, and "Republic," "Get Ready," and "Waiting for the Sirens' Call," are their three best albums.

In my opinion, Bernard Sumner's voice matured after "Technique," as did the sound of the synthesizers, and the layered sounds, that the band often relies upon. "Republic" in particular has a number of terrific songs besides the wistful "Regret," which may be one of Sumner's best lyrical efforts. "Spooky" and "Young Offender," are almost as danceable and catchy as "Blue Monday," or any of their other earlier dance classics. But I strongly think there's something very special about the trilogy of songs "Chemical," "Times Change" and another of my very favorite New Order tracks, the meticulously crafted "Special." I really started to hear the layered complexity of this latter track when a friend of mine, who is a huge N.O. fan, told me this was probably her favorite N.O. song.

I just like "Republic" very much and, for me, it just misses a five star rating. Sometimes change is a good thing.

New Order fans tend to hate this album. Well I am a HUGE fan, and I believe this is one of their best. "Regret" is one of their best song ever. True, some tracks completely outshine the others, like "ruined in a day". I can of feel like this is the last New Order album..."Get Ready" is a fine record though, but it feels a little out of the pack to me.

Gone are the days when New Order can put out an album riddled with songs like 'Your Silent Face', 'Face Up', 'Fine Time' and 'Every Little Counts'. The collapse of Factory Records seem to have brought a sense of solemnity and maturity not seen since the days of Joy Division. New Order seem to have absorbed the best bits of current and older dance-music styles (drum n' bass, techno, trip-hop, good old-fashioned acid house), and incorporated them into the essence of what they do best, synth-pop. There's a discernible austere, almost metallic sheen to 'Republic', a sure change from the dollops of fun on the previous 'Technique'. Many songs here allude to the folding of Factory, things like 'World', 'Liar' (a not-very-subtle dig at Tony Wilson?), the doomy 'Ruined in a Day' (easily one of their bleakest tracks) and 'Times Change'. But what makes it a key New Order album is the way the group have taken a moment to acknowledge the crap of the past couple of years and still have the courage to get together for possibly one last time to come up with a killer of an album. 'Regret' has got to be the best thing that they've done since 'The Perfect Kiss' and 'Bizarre Love Triangle'.

This is the sound that defines alternative techno. Why this album didn't make the pop scene, I don't know because every song is pure gold, so far as I'm concerned. It has catchy rhythms, interesting lyrics, and some of the best synth I've heard in a long time. The other thing I like about this album, unlike some techno albums, is that every song has a different sound. Synth music albums sometimes gets redundant, but each song has personality of its own. If this were a vynil record, I would have put scratches on it from playing it so much.

The most recent (1993) New Order release contains some of the best music of their long and illustrious career. "Regret" is easily the best of the album, featuring a great bass solo by Peter Hook and one of the best melodies since "Perfect Kiss"; "Spooky", "Liar" and "Young Offender" are techno-pop at its best; and "Ruined In A Day" and "Everyone Everywhere" are NO at it's darkest.

"Republic" ranks with "Technique" and "Low-life" as one of New Order's best work to date. For those looking for new releases from the band, "Recycle", a box set, is due out soon on London Records. The band will head back into the studio at the end of summer 1999 to record their seventh album.

Let me make a bold assertion: Republic is better than Low-life. The biggest improvement between the two is in Bernard Sumner's singing. His voice was an Ian Curtis imitation in 1982, and an exuberant but strained yelp in 1985, but around the time "True Faith" came out in 1987, he developed the warm and expressive style that defines New Order more than anything else. Republic refines that style to perfection. Sumner's lyrics refer to life-changing crises ("Ruined In A Day," possibly inspired by the bankruptcy of Factory Records) as well as the usual romantic troubles and loneliness, but his delivery is optimistic, if tinged with some melancholy. His compassionate tone makes his exhortations against fear and regret very comforting.

The music matches Sumner's vocals with an uplifting combination of piano, synth and guitar. Republic places more emphasis on keyboards than any other New Order album, and it also has the most danceable beats. It is, again, a smooth and comforting sound. That may be why Republic has a relatively weak critical reputation among New Order's albums. In fact, Technique may be a stronger album. Republic doesn't quite reach the dazzling inventiveness of "Fine Time" or the emotional height of "Vanishing Point," and it doesn't have the variety provided by the folk-inflected "Love Less." This is a streamlined dance album. And yet, there's something amazing about hearing New Order coast so confidently. Both Technique and Republic make up their creative peak, but on Republic they no longer have anything left to prove, and dispense great songs left and right with seemingly no effort.

Even Republic's detractors will admit that "Regret" is a brilliant song, arguably New Order's best. It has a beautifully concise guitar line, produced with a hint of alt-rock energy, but also with a sudden electronic break. Of course there's a very memorable vocal rhythm in the chorus (the first of many on this album). And, although Sumner's voice has a bit of heartfelt resignation to match the title, the lyric is actually an expression of strength. In the chorus, the protagonist paints an idyllic picture of the life he'd like to lead, then uses it to rouse himself into resolving to start a new life with someone else in the second verse. It's slightly different in tone from the songs on Technique -- instead of just displaying his emotional turmoil, as in "Mr. Disco," or his world-weariness, as in "Vanishing Point," Sumner actually understates these things, and advocates building something in their wake.

But in fact, the other singles are all just as good. Best of all, surprisingly, is the last and hugely underrated single "Spooky." I once read a negative review of Republic that singled out "Spooky" for especial ridicule, mainly due to the sample of some eighties techno song used in the intro. This occurs once -- but immediately after, the heavenly piano and synth melodies come in and drown out the churning rhythm. The chorus of this song beats "Regret" itself. Sumner gently nudges someone to break away from faint-hearted doubts and stand by his convictions: "Don't be afraid to live this way / Let's defend the things we say." How many people have real friends who will talk to them like that?

And it doesn't end with the singles. "Young Offender" has a great cascading synth-piano hook and yet another terrifically catchy vocal rhythm from Sumner in the bridge. "Liar" has a chorus to rival any of the singles. "Chemical" has the album's hardest dance rhythm, but again brings in that piano-string hybrid to add a more nervous, worried sound. Sumner gives a similarly restrained performance. The break in the beat at the end of each chorus is effective. Most of the tracks have well-placed breaks, and the main melodies tend to get passed back and forth between different instruments in quick succession, which keeps the songs moving and prevents the album from dragging.

The album is rooted in early-nineties house music. But, well, that was a good time for dance music -- the beats are fast and detailed without being too aggressive, and the album sounds much more lively than a lot of later nineties techno. Furthermore, the focus is on the keyboard melodies, all of which display New Order's signature style. This saves the album from sounding dated, even in the few places where it kind of is. For instance, Sumner's potentially embarrassing pseudo-rap in the verses of "Times Change" is buttressed by an arrestingly moody synth-string counter-melody, as well as yet another excellent chorus. Just as in "Spooky," the second the keyboards appear and Sumner starts singing, the album begins to sound timeless. And the last track, "Avalanche," is a very pretty instrumental that shows there's more to the album than attempts at club success. (By the way, another instrumental called "Vicious Circle" was released as a B-side to one of the singles -- it's a great track, and well worth the search).

Perhaps Republic didn't get its due because it came out at the wrong time. In 1993, America was enthralled by deliberately undanceable grunge music, and British electronica was starting to splinter into the countless styles of nineties techno. The dissolution of Factory Records, followed by New Order's eight-year hiatus, didn't help either. But now, fifteen years later, it's clear that Republic shows the best band of the last thirty years at the very height of their powers.

New Order's album have almost always been half dance/Half rock with lots of experimentation. New Order's 1993 release "Republic" find's the act almost completely abandoning their rock roots to explore the dance floor and in the process putting off their fans who like guitars with their music (2002's "get ready" will do the reverse- be mainly guitar and put off fans who like the dancier stuff) Produced by synth-pop wizard Stephen Hague, the 9 tracks on "Republic" feature club beats, rolling synths and Bernard's usual vocal stylings.

Personally I love "republic". Almost all the tracks are upbeat dance tracks paired with somewhat "down" lyrics. TRacks like "chemical" "spooky" and "Liar" are clubland rerday tracks. New Order are in typical mode on "regret" and "special". One of my favorite tracks on the album is "avalanche" with soft synths and Gillians sweet voice gently singing the word "faith" over soft, somber music.

A great album but fans of New Order's more guitar soudning work (Temptation, Ceremony) or Joy Division may need to sample first.
If you like synth-pop in the vein of Pet Shop Boys you may love it.