Customer Reviews

Waiting for the Sirens Call

5 star:		(75)
4 star:		(43)
3 star:		(16)
2 star:		(6)
1 star:		(4)

 

 

New Order are the greatest musicians in rock. In their earliest days, as Joy Division, they wrote music that reached unimaginable heights of passion; as New Order, they wrote music that sounded forever young and carefree; they always had more talent than was meant for mortal man. We know that even the weakest New Order song will be superior to the vast majority of popular music, and so, all we ask from every New Order album is one, just one glorious song of breathtaking brilliance, a song to make us shudder with bliss. Such are "Temptation," "The Perfect Kiss," "True Faith." We were a bit worried in 2001, when New Order recorded their first album in eight years, but fortunately, the first song on it was "Crystal," and when we heard it, we put our inner critic to rest, because we knew that everything would be all right. And in 2005, once again, when the sun is shining outside, and the heat is coming down hard on the lazy streets, and young people are undergoing the greatest romances of their lives, there's nothing to do but put New Order's new album on repeat.

Bernard Sumner's vocals just get better with age. No one can match him for warmth and charm. He's like the best friend you always wished you had, who always thought of the most fun things to do, who could always get away with breaking the rules, who never seemed to be weighed down with cares, and who later flew the world, kissed pretty girls in every city, and came back to see you ten years later without having changed a bit. Just listen to him sing "I've got to find you, whatever I do" on the opening track. If your real friends are as loyal, consider yourself lucky. What about his voice in the chorus of "Hey Now What You Doing"? Just listen to the way his voice goes into an enraptured falsetto on the stressed syllables. It's perfect, and he sounds like he's not even trying. When he sings "you are my jet-stream lover" in "Jetstream," you know that's a silly line, but so does he, and as a result, you can't help but believe him, with a big grin on both your faces.

Some folks might criticize New Order for a perceived lack of innovation, and it's true that they aren't making forays into "IDM" or "glitch-hop" or anything like that. The thing is, though, that all of those micro-movements have died off by now, anyway; electronic music has come back full circle to techno and house, and so, New Order's sound is completely up-to-date. With their wonderful, flawless melodies and rock elements, they easily outdo their contemporaries on the dancefloor (this album is much more danceable than its predecessor; half the songs are electronic), and with songs like "Working Overtime" and "Hey Now What You Doing," they also claim the forefront in the recent resurgence of the garage-rock sound. New Order are fifty years old, but sound twenty-five.

A hack writer for the NME contemptuously observed that "Dracula's Castle" has silly lyrics. He then retired to congratulate himself for his own astuteness, but in case he's back now, I've got some news for you, sweet-cheeks: no matter how many albums you review this year, you aren't going to hear a hook half as effortlessly awesome as the buzzing synth line in that same song. In fact, the next time you will hear such a hook will be whenever the next New Order album comes out. If some other band miraculously stumbles across anything like it, they'll play it with none of the variation that New Order bring to it, without the graceful build-up of strings in the end, or the various keyboard, guitar and piano melodies. And their lyrics probably won't be any better than Bernard Sumner's, and they aren't going to sing them with half of his refinement, anyway.

So what about that one amazing, transcendent song? Well, first there's "I Told You So," which starts off with dissonant electronic percussion, and then all of a sudden takes up that universally recognized staccato reggae rhythm, played not with a guitar, but with a cold, gleaming piano. It sounds absolutely awesome, but it only gets better when Sumner starts singing. He gives the song a yearning air, entreating a friend to "cut loose and run away" from a dreary routine with him. Then there's the dark, grinding guitar break, and all sorts of terrific anxious synthesizer melodies, and the feeling is that of two young people who are drawn to some alluring and dangerous lifestyle in the shadowy nightlife of the city. This theme has recurred in Sumner's lyrics ever since "The Perfect Kiss" back in 1984, but here, it sounds more gripping than ever.

It doesn't end there. Just a few songs later comes the beautifully titled "Guilt Is A Useless Emotion." The song opens with frail keyboard tones; the spotlight is centered on them, their very restraint creates dramatic tension, preparing the way for the arrival of one powerful house beat. When Sumner's voice comes in, it becomes the focus of the song; he sings a lyric describing the way in which love can create upheaval in one's life, with a performance epitomizing the excitement, nervousness and bewilderment of someone who has just undergone such an upheaval. The insistent, rushing chorus is in the great tradition of house music, a sort of call-and-response between Sumner and, of course, a sultry female vocalist singing such lines as "I need your love" and "I want you now." And as if that weren't enough, the American release of the album features an alternate mix of this same song as a bonus track. This version is just as good as the original, with even more energy; the vocals remain unchanged, but now there's a surging, distorted synthesizer riff. It's the best thing you'll hear all year.

Someone here mentioned the term "mythology of New Order" and that compelled me to chime in. I'm not sure how the old-time NO fans will take to this, but speaking for myself I'm blown back into the water...this is the real deal, from the pappies of the sound they created, back (once again) to show the new school a few new lessons. I LOVE the sound at play here, from the first track to the last. Of course, I loved "Get Ready" as well...nothing here quite touches the urgency of "Crystal", but instead most tracks stretch to the breaking point...I never wanted anything to end...literally my ears had to re-learn how to listen to this group, and grab ahold for the long haul.

The opening bass of "Hey Joe" rocks my world...literally. "Know What You're Doing" is the funkiest techno-jazz I've ever heard and should be mandatory in every elevator...pronto! "Krafy" just makes me smile, nuff said there. Some people hate it, but "I Told You So" is my favorite track, and a great sequel to "60 mph"...oh man, how much I love this band when they're firing on all cylinders...

From "Dracula's Castle" and "Morning Night and Day" I can't believe how good things are...this is New Order's most complete album I've ever heard...every track is great (yes, even "Working Overtime"). It took me a few listens to really get a hold on things...but this is certainly my favorite ALBUM (in the truest sense of the word) of 2005 so far. I almost shed a tear when the thing ended, as always I wanted more. But then I hit the play button on the old ipod and started over.

Thank you, New Order...thanks for sticking around. New school, are you listening? THIS is how longevity is done...take note!

As a long-time and hard-core NO fan, I could go on and on and on about the greatness of New Order. I could bring up this and that album, which ones are the best or second-best. That would only serve to influence your acceptance or rejection of this review. So I will only provide commentary on this piece of work as it stands on its own. Take away the history of one of the most influential bands ever and regard Waiting for the Sirens' Call for what it is: Perfect.

I don't give many releases such a high rating. When I do, it's for one simple reason- great songwriting. Here it is. New Order, no matter what they have done in the past, has accomplished a perfect "record" here. These guys (literally- alas, Gillian has moved on) have matured and perfected their songwriting craft.

Melodies bleed from every song. Every single song. Arrangements are flawless: with verses, choruses, and bridges coming at you exactly the way you always hoped they would- they get at you quickly and never grow old. They get in you and don't want to leave.

Here are lyrics & rhythms that evoke and provoke the senses and emotions. The playing is gifted and creative, smart and fun. You'll sing along to the bass and guitar parts as often as the vocals. The production shimmers without being too shiny or digital-clean. There's synthesizers and guitars in an embrace that brings old and new musical stylings together to create a brand new baby.

The whole cd just cooks. After a few listens, you'll be completely hooked and won't be able to eject it from whichever player has the good fortune to play it. There's simply no way you cannot love these songs. I dare you not to. If you get it, you'll love it. If you don't, you'll miss it.

I simply can't get enough of this album. What can I say. New Order dish out A-grade albums after A-grade albums. Before I got this at the store, I read a review that claimed this was as good as Get Ready. I was highly skeptical how New Order could release another album as good as that, but I must say, now that I've listened to this, it might even top Get Ready.

The opening track "Who's Joe" is a slow, haunting start to the rollercoaster of emotions Bernard Sumner and gang take us through in Waiting For The Sirens' Call. "Hey Now What You Doing", "Waiting For The Sirens' Call", "Krafty" and "Morning Night And Day" have a distinct Get Ready feel-good rock feel. I was pretty surprised with "I Told You So", which is very different from anything they've done in the past. It is a mixture of reggae, rock and synth-pop. A very interesting sound indeed. I love the orchestra used in "Dracula's Castle"... A kind of song that leaves a bittersweet taste long after you've heard it. Then there are the highly pop / dance tunes of "Jetstream" and "Guilt Is A Useless Information" that are sure to get anyone and everyone moving on the dancefloor. "Turn" makes me cry everytime I hear it. It reminds me alot of "Run Wild" / "World" / "Ruined In A Day": a powerful song, but at the same time remaining somehow very delicate - definitely one of my all-time New Order favourites. The last song - "Working Overtime" - skillfully ties the whole package up very well with its up-tempo lifting tune and lyrics.

Every single song in this album is just simply breathtaking. DEFINITELY the best album of 2005.

When I first heard of New Order back in the eighties, I hadn't even heard of Joy Division (I've since become a fan though) so I think a lot of reviews I've read slamming this album are by people who are viewing the album through "the crusty lens of their own failed expectations" (as Becker & Fagen once said) based on a legend created in their heads the day Ian Curtis died (no disrespect, I just think that when people in the public eye die at a young age somehow they become deified in some peoples minds eg. Jim Morrison, Jimi Hendrix, Kurt Cobain, heck even Selena, I sometimes wonder how they would be perceived if they were alive today). Anyhow these people should review the album based on what they hear, I mean, I understand that when you say a name like New Order certain baggage must be taken into account, these are people who have set the standard pretty high for themselves.

With that in mind when I first heard the album I really liked "Krafty" and "Morning Night & Day" didn't like "Who's Joe" and "Dracula's Castle" and thought the rest was ok, now that's not a glowing review by any stretch of the imagination, but as the weeks went by I gave this platter a few more spins and it started growing on me to the point where I'm now addicted to the thing and I'm just about ready to add "Waiting..." and "Turn" to my list of all time greatest songs by ANY band, the rest is similarly growing in stature in my ears now I really think they've come up with a truly great album. So folks who criticize this record should maybe give it another listen.

Waiting for the Siren's Call finds our heroic band of wistful troublemakers as on target as ever. While there is no accounting for taste, in responce to the negative reviews on here from people who have and haven't followed them since Joy Division's transformative death to their rebirth as New Order the way I HAVE I offer this: Things Change. For people to expect or insist that this album sound the same way say, that Brotherhood does, is foolish and just more than a bit naive. That viewpoint denys a group of artists the right to change and grow, make mistakes etc. I really love pesto, but I don't want to eat it everyday you know? The same is true with bands. New Order has never failed to be one of the very few bands that can live in all the worlds; gay-straight, 1981-2005, edgy and bleak-dancey and euphoric. With few exceptions no band that is still together making music since 1981 can lay claim to any legacy like that. Turn, Guilt is a Useless Emotion, are as pure New Order as Round and Round or Shellshock are, while Jetstream Lover proves that New Order isn't afraid to or unable to reinvent themselves as well. That song is sugery dancey joy!

Just listen to Barney's broken, old man-little boy voice. It is STILL the voice of someone who has seen and done much, too much? But still wakes up to face the day, smile wryly and say "...nope, not beaten yet."

The Wait is over, the call has been heard. This albmum overflows with songs crying to be anthems for the summer, so put your prejudices aside for a few and just LISTEN.

Siren's Call is a very good album. In par with their album Technique (1989) though I still consider Technique their best release. Most of the tracks' melodies are New Order tinged (especially when you hear that "bassy-synthesizer" sound). However some of the tracks, in my opinion, have been composed to probably please the youth of today for which I myself consider them my most unwanted tracks (jetstream, guilt is a useless emotion). But I think some reviewers will term my unwanted tracks as their most desirable listen. In other words, to each his own.

For me the best track is Morning Night And Day. It's definitely classic New Order (melody wise ok? lyrically, well, you'll be the judge of that). And the first track rocks too. It's like the "1963" of this latest New Order release.

So is Siren's Call worth it? Well, yeah. It's New Order. And if you're a devoted fan, buy it.

It's interesting New Order has returned in 2005 with a new album when almost every hot band with the word "The" stuck in front of it are aping their signature dance rock hybrid sound. The Indie Dance God's must be completely flattered that their sound and influence has endured for 25 years.

Waiting For The Siren's Call sounds exactly what its supposed to be; New Order for the new millennium. Everything is in place... Bernard Sumner's melancholic vocals(and so trite its almost clever lyrics), Peter Hook's signature bassline, Stephen Morris's crisp precision drum work. New comer Phil Cunningham takes over for Gillian Gilbert on guitar and synth work.

In the New Order cannon, you could place it in between Get Ready and Republic in sense of sound. The guitars are not as harsh/loud as Get Ready, yet the bass and guitar have more of a presence than on the anemic Republic. Perhaps Brotherhood is a better frame of reference. There are none of the dance gems of Technique, Low Life or Substance.

WFTSC is an electro-pop-rock amalgam. The song's on WFTSC aren't bad. But that's just it; they are not awe inspiring either. The musicianship is still high and up to par, but their are no instant classics here.. no Regret, no True Faith, no Temptation, no Crystal. Every song sound's vaguely like a New Order song you've heard before. Is it clever self reference or just self parody and running out of ideas? The listener can decide.

There also seems to be some slightly unfocused meandering instrumental passages in several of the songs which take away from them.

The synth work is capable, but nothing compared to the flourish and innovation of the Gillian Gilbert days.

The first 3 tracks Who's Joe, Hey Now What You Doing, and the title track offer up trademark New Order melancholia more on the level of Brotherhood or LowLife's Love Vigilantes. Trademark Hooky basslines, Trademark Sumner lyrics and guitar work.

Krafty was indeed a great choice for the kick off single; a good balance of bass, guitar and synth work. Its almost the most optimistic and coherent lyrics I've heard out of Mr. Sumner.

Jetstream ft Ana Mantronic from the Scissor Sisters sounds straight off an Electronic album,(or even Republic) and the lightest/poppiest moment, though I was expecting more from the collaboration, its fun. Stuart Price(aka Jacques Lu Cont/Les Rhythms Digitales on production duties)

The one true dance track on the album (another Price production) seems like a poor mans Blue Monday, even invoking some of Blue Monday's melodic elements.
Tribal/Progressive don Mac Quayle (who did some programming work on Electronics Twisted Tenderness) gives a stab at the track too and gives a more Giorgio Moroder feel to it.

I Told You So is catchy, but the robo reggae doesn't really gel right. Why not call in Ruined in a Day remixers and dub legends Sly and Robbie and do it right? Melodic elements from 2000s Brutal that was on The Beach soundtrack seep into the mix.

This is not a bad New Order album, probably better than Republic, but certainly not as strong as its predecessor Get Ready. It lacks the experimentation of LowLife and Technique, but in sound, its thoroughly New Order.

I have been a New Order fan for over a decade, and I must say that this album is AWESOME!! It is a wonderful amalgamation of rock, dance, pop and techno. I have always described New Order as the "most uplifting-sorrowful" band you'll ever hear. Why? Because most of their songs have these deep or serious lyrics, but the music at times is much more light and carefree. Mind you not all of their songs display this irony, but many of them do.

I have always loved Bernard Sumner's voice. His voice is soothing, convincing, detached and callow all at the same time. He is able to utilize his phonation in all these aspects on this album. As for highlight tracks: "Who's Joe?", "Guilt is a Useless Emotion", "Krafty", "Jetstream", "Hey Now What You Doing" and the title track. However my favorite song has to be "Dracula's Castle". A moody, fast paced song with some brilliant lyrics. This song has to be one of the best songs New Order has done in years. I can't believe it hasn't become a single or has had myriad remixes done to it. The U.S. version of this CD has a bonus remix of "Guilt is a Useless Emotion". Which is strange because domestic CDs never have anything extra.

I believe after this album, it is safe to say New Order has the ability to stand the test of time. They aren't just an 80's band that had a few good songs. Or the guys who use to be in Joy Division. They are both a complex and great musical talent. I can recall reading a review about this album on the Internet or in a magazine. The reviewer stated that this album (Waiting for the Sirens' Call) wasn't going to "change your life" after you listened to it. I am still not sure what that statement means. This is a CD, not a college course, so my response to this reviewer: " If you want something that will change your life, register to vote."

I was suprised and delighted to see a New Order release and bought it instantly because all of their music is good. I had no idea how good this one would be; it is now my favorite CD out of about 700 CDs, most of which are Brit-Pop and female alternative (Lillith Fair types). I am 50 years old and enjoy music like this far more than the old 70's classic rock I grew up with! By the way, does anybody know how Bernard Sumner gets the awsome buzz in his guitar notes; is it by pressing the strings loosly to the fret?