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New Order, Troxy - review
12 December 2011
You win some, you lose some. New Order lined up for their first London gig since 2006 in the presence of long-absent keyboard player Gillian Gilbert but were missing the iconic slouch of bassist Peter Hook.
Hook was understandably miffed at not being invited to his old group's party, especially when he seemed to think they'd split up for good in 2007. "Everyone knows that New Order without Peter Hook is like Queen without Freddie Mercury," he said. All we need now is a prolonged legal battle that culminates in somebody being forced to call themselves New New Order.
Replacement bassist Tom Chapman, a member of New Order frontman Bernard Sumner's more recent band Bad Lieutenant, could have skulked in the shadows to avoid comparisons but instead danced with abandon to a setlist bursting with classic hits.
While he may have worn his instrument a good two feet higher than his predecessor, shut your eyes and that melodic, intricate bass sound, so vital to New Order's sonic structure, was much the same as ever. "It's not bloody Level 42, you know," said Sumner as Chapman tuned up, starting his next feud early.
Having got back together for a handful of gigs to raise money for a friend with a debilitating illness, there was no new material to promote and thus there was plenty of room for the favourites.
A double-whammy of Bizarre Love Triangle and True Faith halfway through showed how many great songs they had to spare. Age of Consent stood out
for its racing, machine-like drumming from Stephen Morris, while Blue Monday, one of a rare group of songs that can be instantly recognised by a classic drumbeat, was a predictably inspired encore.
Love will Tear us Apart, by New Order's earlier incarnation Joy Division, looked back the furthest, though it was the danceable joy of Perfect Kiss and Temptation that soared the highest.
It wasn't the complete package, of course, but in many ways this was as good as it gets.
New Order
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