Hype or Substance?

THE LEADING British rock weekly New Musical Express would have us believe that New Order is now the "world's leading" rock group, a compliment that is no surprise since NME and other British music rags have long led a monumental rock myth that is as much hype as it is substance.

And it is probably a sign of the weakness in current English pop that New Order--formed in the aftermath of Joy Division lead singer Ian Curtis suicide--has been thrust forward as the band to save British and now American ears from the corrosive influence of fun music. The phenomenon of Joy Division cannot be overestimated; the music on their seminal, but now largely unlistenable, albums Closer and Unknown Pleasures was probably the most depressing ever put to plastic, but it thrilled a European rock elite looking for depth amidst the backlash of post-punk.

So when Ian Curtis took his own life. New Order became a Doors for the rock sophisticate and Curtis a Jim Morrison figure. But New Order gradually moved to disassociate itself from the death-worship that is the bread and potatoes of second-generation rock fandom and by doing that may have poisoned its career. After a Joy Division tinged first album. New Order sped up the beat and resumed its search for "the meaning of life" (as NME so pompously puts it) through the heretofore scorned-upon medium of--gosh, gasp--disco. But it was not disco to send Black music fanatics rushing to cry copycat, rather it was stripped-down, mechanized, hermetic music that was exhilarating despite its coldness.

Last year's dance single "Temptation" was the best of New Order's early forays into disco and probably the best electronic dance music yet made. Its sobriety and minimalism could not hide an incredibly catchy hook and oblique lament that could bring a tear to the eye even while you danced.

Their more recent offerings, including international dance favorite "Blue Monday," phased out even the glimmer of emotion that made "Temptation" so powerful. "Blue Monday," with its stark heartbeat-like electronic drums, was a disturbing song because it was so mechanical, so inhuman, but, nonetheless, catchy. The lyrics and occasional synthesizer effects were but minor distractions from that thumping beat.

Power, Corruption, and Lies is New Order's first album-length attempt to integrate their new-found beat. Unfortunately, the album offers little that has not already been covered by the two aforementioned singles. The overriding impression is that, were it not for New Order's heady heritage, little would separate the disc from less exalted forays into electronics' textures and beats by such bands as, say, Tears for Fears.

But while the same criticisms of Tears for Fears' The Hurting can be levelled at Power, Corruption, and Lies--that it is occasionally boring, soupy, and offers little that is new--there is a tangible difference between New Order and your bargain basement synth outfit. New Order exudes an intelligence and depth that gives the sense that Bernard Albrecht and crew are in total control of their disco experiment. But where does that leave the listener?

Power, Corruption, and Lies does not fall short because it succumbs to the temptation to doodle with the high-tech equipment--a fate that has K.O.'ed "serious" synthers OMD, Yazoo, and Tears for Fears. Rather, the album comes across as a noble, but failed, attempt to recapture and combine the spirit of "Temptation" and the oh-sochic alienation of "Blue Monday."

"The Village," which slows to a crawl before springing into a bouncy dance number, "586," and the clarion cry "I see danger, danger, danger," falls into the first category. Like "Temptation," "The Village" softens up the eternal beat by relying more on programmed keyboard rhythms than on electronic drums to propel the song. But the treatment seems forced and the not-quite-that-catchy hook is shoved down the listener's throat until getting a cold respite of the pulse-like drum beat, and a few clipped notes from a real bass.

"Your Silent Face" is easily the worst song on the album. With its soupy, predictable melody. "Face" would serve as a good sound-track for the sequel of Return of the Black Stallion Meets Chariots of Fire. You know, for the beach scene. Although Albrecht shows that his tongue is in cheek when he ends a set of mystical pseudo-poetry with the kicker, "Why don't you piss off," he is not quite as immune from shlock as he would have us believe.

That New Order has a healthy maudlin streak within its self-important consciousness is displayed on the radio single "Age of Consent." While the song works musically and the few whoops and falsetto yips from Albrecht are a much-needed change from the somberness of the rest of the disk, it is lyrically awkward.

Albrecht's strained tenor can communicate emotion well, but its one-dimensionally becomes painful when he has less than enthralling things to say.

I'm not the kind who likes to tell you

Just what you want me to

You're not the kind who needs to tell me

...(awkward pause) About the birds and bees

This is standard fare for new New Order, sometimes plaintive, sometimes impersonal--but always general--observations about people not communicating or losing each other.

However, the tired lyrics do not take away from "Age of Consent" because it is the only song that successfully fuses the disparate elements of New Order's work so far. While maintaining a powerful and more intricate rhythmic base, it rises above the impersonality and mere functionality of "Blue Monday" to project at least the sense of emotional input--which is asking a lot nowadays.

Power, Corruption, and Lies will satisfy fans and the British rock press who continue to suck as hard as they can, but it does not stand up to claims of greatness.