New Order - everyone everywhere, 1993

"It’s gorgeously produced, particularly how Hague and the band found such breadth and depth in the guitar mix, with quite a few layers of bass, lead and rhythm guitar interacting; starting with the rhythmic strumming under Bernard’s (beautifully performed ) vocals, the subtle additional textures that are added, Peter’s integral bass riffs, and the lush lead layers performed during the chorus. The primary bassline is synth-based, and has a nice ‘grain’ to it; a subtle but excellent touch of programming. Equal to the terrific guitar performances are the luscious and atmospheric synth layers. The last 30 seconds of the track soars upwards to Bernard’s repeated despair that ‘this world is gone‘. Sublime."

New Order - mr disco, 1989

"platinum leftfield electronic pop, full of cool riffs & melodies, seamless production, and thumpingly good beats and bass. Being so spoiled for choice is a measure of the band’s (and indeed Technique’s) greatness. Mr Disco brings the groove on the album’s side-B trilogy of bliss, and there’s little left in the tank at the end. It’s a textbook example of top drawer late-’80s New Order electronica: wistful verse and punchy chorus vocals, over rolling layers of synth & rock bass, lush synths, bells & strings, plus superlative drum programming (i.e unlike most house/acid at the time, which was necessarily simplistic and repetitious)."

New Order - world in motion, 1990

"World in Motion..." is the nineteenth single by British band New Order (performed with the England national football team, credited as ENGLANDneworder). The song is New Order's only number-one song on the UK Singles Chart. It was produced for the England national football team's 1990 FIFA World Cup campaign and features a guest rap by England footballer John Barnes and additional vocals by several members of the English team of 1990 and comedian Keith Allen, who co-wrote the lyrics. Singer Bernard Sumner described the single to NME as "the last straw for Joy Division fans", noting how its upbeat sound had inverted their former band's famously gloomy image. The song was originally to be called "E for England", with lyrics that ran "E is for England, England starts with E / We'll all be smiling when we're in Italy", but the Football Association vetoed the title, realising that it sounded suspiciously like a reference to the drug ecstasy."

New Order - avalanche, 1993

"Avalanche has the most atmosphere, the most beautiful melodies and orchestration, and the most heart of any track on the album. It feels like they all put their differences aside one last time to channel the sublime; drawing as they collectively did some of their finest instrumental performances on Republic: the lovely interplay between bass and acoustic guitars, the washes of synth, strings and reverbed piano, the deep tones and echoes, the simple but metronomic drum loop, and of course Gillian’s voice – as if it were itself a backing violin. Avalanche has a real melancholy cinematic quality to it, and that final held note is like the dimming light at dusk – always my favourite time of day."

New Order - touched by the hand of god original version retro club mike pickering, 2002

"The box set was released as a compromise. The band's manager, Rob Gretton, had originally envisioned a box set called Recycle, which would feature all the singles New Order had released, one single per CD, in a grand 20 CD box. However, London Records deemed this excessive, and the idea was shelved. New Order released Get Ready in 2001 and a year later Retro surfaced. The CDs each have a particular theme: Pop, Fan, Club and Live. Each one was selected by a friend of the band."

Fukushima Dolphin - bizarre love triangle live cover, 2022

"Sunset. Bizarre love triangle cover…old man getting out of chair dancing….life is beautiful"

New Order - nineteen sixty-three ninety-five arthur baker remix, 1995

"the legend goes that when the band recorded True Faith and 1963 with producer Stephen Hague in 1987 in order to have a shot at "breaking" the American charts it was a close run thing between which song would end up as the A side as the band felt both songs were of the same calibre. Rob Gretton allegedly wanted to put both tracks out on the same release rather than saving one for another single in order to give fans a decent b-side and thus value for money; the legendary FAC 183 appeared shortly afterwards. Fast forward seven years, Factory's toast and London Records are preparing a nice few cash-in releases to celebrate acquiring the Joy Division and New Order catalogues. One of the compilations as we all know was (The Best Of) which spawned two singles: a "cleaned up" version of True Faith dubbed "-94" and a number of new versions of 1963 or "Nineteen63" as it was duly titled. So in the end, 1963 finally got its day in the sun as an A-side with both a cleaned up (-94) version of the original Hague mix and a spruced up Arthur Baker (-95) remix with a brand new approach to the song. Another legend from around the same time concerns "Let's Go" where Bernard and Arthur Baker were on holiday together and rediscovered the instrumental the band recorded back in the day I.e. the demo-ish Salvation! version and possibly the "Waiting For So Long" vocal demo from the mid-80s. They subsequently went into the studio, pulled apart existing multi-tracks with Bernard recording brand new vocals and a guitar track. It was allegedly a Sumner/Baker only project and I don't think the rest of the band were even involved due to their estrangement post-Reading 93. The new "Let's Go (Nothing For Me)" took pride of place as track 1 on the US Qwest pressing of (The Best Of) but was relegated to the limited edition CD single of the newly remixed "Nineteen63" in the UK. Even then two mixes of the new "Let's Go" exist with one having a clean ending (US) and the other fading out (UK). So I would surmise it's highly likely Bernard recorded the new acoustic guitar track for the Arthur Baker remix of 1963 at the same time they both decided to complete the new "Let's Go (Nothing For Me)" project. The rest of "1963-95" as far as I'm aware was derived from the original 1987 multi-tracks; notably the significantly louder Hooky bass which I'm sure we all agree enhances the remix. Baker obviously thought it was a decent opportunity to raise the faders on his contribution and let us hear the riffs."

New Order - who's joe, 2005

"But, for sure, everybody now knows who Joe is. So what if the lyrics, clearly a companion song to Hey, Joe, don't fit the circumstances, never let that get in the way of a great song saluting a greater moment. And, if we disregard the main thrust of the words, and cherry pick the odd phrase, and disregard the new order New Order allegedly might have been celebrating with their name, yeah, it's an OK comment. Who listens to words anyway? And I can't really buy into conspiracy theories about Manchester pop groups."

New Order - your silent face, 1983

"Your Silent Face is the fifth track of Power, Corruption & Lies by New Order. And also the first song off its second side. It is one of the most iconic songs from the album, in part from heavily featuring the melodica. It is still currently performed in New Order sets since the band reformed in 2011."

Nada Surf - bizarre love triangle cover, 2012

"It actually may be safe to say that this version is more accessible than the original song, which opens with about a minute and thirty seconds of electronic music before any lyrics are added. Nada Surf jump right in, using only acoustic instruments and human beatboxing, making a really decent, very gentle version of the song."

New Order - true faith, 1987

"As is the case for many New Order songs of this period, the words in the title do not appear anywhere in the lyrics. The original lyrics included a verse that read "Now that we've grown up together/They're all taking drugs with me". Hague convinced Bernard Sumner to change the latter line to "They're afraid of what they see" because he was worried that otherwise it would not get played on the radio."

New Order - bizarre love triangle extended dance mix, 1994

"Back in the late 80's I was a DJ in a very cool club in a college town and we played the shit out of this song. The club was in a - don't laugh - Holiday Inn, and because of the corporate money available we had some pretty amazing equipment up in the DJ booth."

New Order - crystal, 2001

"Crystal" is a song by English rock band New Order. The song was released on 11 July 2001 as the first single from their seventh studio album, Get Ready (2001). "Crystal" entered the UK Singles Chart at number eight, attracting considerable attention and critical praise as the band's comeback single, their first original since 1993. The song also found success internationally, peaking at number three in Canada, number seven in Finland, and reaching the top 50 in Germany, Ireland, Italy, and Sweden. "Crystal" appears as the first track on the album in a version different from the single release, with an extended intro and coda."

New Order - as it is when it was, 1986

"a melodic rose between 4 faster punk-esque thorns, it's the highlight of Brotherhood for me. It's about attaining the thing you have always desired then being disappointed with it. Then yearning for the desire to return."

New Order - times change, 1993

"I always loved the pre-apocalyptic vibe of the song. Some kind of life-shattering earthquake seems to be on the way in the god-forsaken town of Port Royal, while Barney finds solace in detached existential musings."

New Order - regret, 1993

"The central puzzle is that with New Order you have lyrics that most songwriters would look at as senseless knock-offs, and a voice that most singers would call insultingly blank, and when you put the two together you sometimes get records which turn your stomach upside down with their brilliance. Actually, that’s not a puzzle at all: that’s just how pop music has always worked, but still New Order remain a frustrating band to write about because their quality is so slippery but so undeniable."

New Order - touched by the hand of god, 1987

"The song was originally recorded for the soundtrack to the film Salvation! and the version released as a single was remixed by Arthur Baker. The B-side was a dub remix, titled "Touched by the Hand of Dub", and the release had the catalogue number FAC 193; its production is credited to New Order."

Devine And Statton - bizarre love triangle cover, 1989

"Cardiff-born singer Alison Statton’s first group, Young Marble Giants, lit and carried a bright torch for the lo-fi indie scene that would flourish in the ’90s. Her subsequent group, the coolly jazz-inflected Weekend, anticipated the suave cocktail pop that Everything but the Girl, Sade and others would popularize. After the end of Weekend, Statton went back to university, but re-emerged near the end of the ’80s in a duo with Manchester guitarist/songwriter Ian Devine (ex-Ludus). The pair made two albums of spare, Celtic-flecked folk-pop, covering tunes by New Order (“Bizarre Love Triangle” on The Prince of Wales) and Crystal Gayle (“Don’t It Make My Brown Eyes Blue” on Cardiffians) in the process."

Such a great song!

New Order - bizarre love triangle, 1986

New Order - turn, 2005