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New New Order single September 12, 2020

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Hat tip to Rhona McCord for pointing to this, New Order’s latest single.

“In tough times we wanted to reach out with a new song. We can’t play live for a while, but music is still something we can all share together. We hope you enjoy it… until we meet again,” vocalist Bernard Sumner said in a statement.

This Weekend I’ll Mostly Be Listening to… Isolation and other tracks by Joy Division and New Order from Peter Hook and the Light March 28, 2020

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The world has, I think it’s fair to say, taken a Ballardian turn this last three months. So what better music to soundtrack this than that of Joy Division (and in a way New Order) whose output and lyrical concerns always spoke to isolation (quite literally as noted by IEL last weekend) and alienation and, even more on the nose, who nicked a song title from Ballard.

Anyhow, got to admit I was sceptical when I saw these albums coming out. A range of live performances by Peter Hook, formerly of Joy Division and New Order, covering songs by those two groups – actually as complete albums. And yet, and yet, I saw that Movement, perhaps along with Brotherhood, my two favourite New Order albums, was part of the set, and I downloaded it. And it was pretty great. The songs hew very close to the originals, but they’re not exact replicas, or perhaps it is simply that they have had to be slightly reframed for live performance. And somehow that’s a benefit. Had a listen too to the versions of Technique and Republic. Never quite enjoyed the former as much as others, and while flawed always liked the latter. But to hear the spectrum of music JD/NO covered is to see a band that had/has remarkable range.

His voice is a mixed pleasure, he’s very good on Joy Division tracks, perhaps not quite as good on New Order tracks, but the rest of the band (most of whom were in his solo project Monaco – dealt with here years back) supplement on the higher pitched tracks. And overall it’s a lot more enjoyable than I expected it to be. And always listening to it there’s the curious dislocation of it being a step away from New Order and Joy Division, and yet right there given the centrality of his bass to their overall sound(s). Listen to the throbbing baseline of Transmission and… it is his song as much as any other members of Joy Division. And as lead vocalist on a number of tracks on Movement his singing JD/NO songs isn’t entirely novel (indeed I’d argue those constitute some of the best songs on the album).

Intriguingly he hasn’t covered the two more recent albums he was involved in before leaving New Order, Get Ready and Waiting for the Siren’s Call – I wonder why. But for those interested in two of the most pivotal post-punk/electronic/pop acts of the past forty years I think these albums offer a unique vantage point.

I saw New Order in the 2000s and very impressive they were too. But anyone seen Hook and the Light live?

The session for Glyndwr TV that leads off below has the following:

1: Exercise One 10:10
2: No Love Lost 12:30
3: Shadowplay 16:19
4: Digital 20:20
5: Disorder 23:08
6: She’s Lost Control 26:45
7: Isolation 31:20
8: Something Must Break 34:25
9: Transmission: 37:15
10: Love Will Tear Us Apart 41:03
11: Ceremony 45:44


Peter Hook and The Light – Glyndwr TV (52 minutes)


Transmission (Live)


Shadowplay (Live)


Love Will Tear Us Apart (Live)


Dreams Never End (Live, in Dublin)


Doubts Even Here (Live, in Dublin)


Blue Monday (Live)


Face Up (Live)


The Perfect Kiss (Live)


Weirdo (Live)


Bizarre Love Triangle (Live)


Fine Time (Live)


Chemical (Live)


Regret (Live)

Movement by New Order – the Definitive Edition April 27, 2019

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Did a This Weekend on this quite some time back, Movement by New Order, their first album and one that sits oddly in their output proving to be a transitional moment between Joy Division and the synth pop and dance that the group would go on to offer. It’s my favourite New Order album – not by a massive amount, I’m very fond of pretty much all of them, but something about it really speaks to me. I’d almost argue that it is a perfect post-punk album. The group itself loathed it apparently for quite some time. Though not so much that they’ve resisted releasing:

The Movement boxed set will include the vinyl LP with its original iconic sleeve designed by Peter Saville, original album CD in replica mini album sleeve, a bonus CD of previously unreleased tracks, DVD of live shows and TV appearances plus hard backed book all housed in a lift off lid box.

New New Order after Peter Hook… May 3, 2014

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…This from last month, a new song entitled ‘Singularity’ being played on tour by them and apparently there’s new material on the way. Very…erm…New Order like. Whether one likes it will probably depend on how high the tolerance for New Order’s output is in the first place and they’ve always reminded me of a heavy metal band in so far as they tend to use similar elements again and again (which may be no bad thing). Sounds good to my ears. Like the bassline, too.

This weekend I’ll mostly be listening to… New Order, Movement January 28, 2012

Posted by WorldbyStorm in Culture, This Weekend I'll Mostly Be Listening to....
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Let’s wind back to 1981 (and ignore, if we can, the news of the most recent split in the ranks of New Order – you can find Peter Hook and his band touring the two main Joy Division albums while New Order tour without him). After the death of Ian Curtis Joy Division had collapsed, but Bernard Sumner, Peter Hook and Stephen Morris soon regrouped as New Order with new member Gillian Gilbert and dragged Martin Hannett back for one last time to produce them and generate this curious amalgam of what they were and what they would be.

Granted, this is little off the beaten track in terms of New Order’s discography. It is an album that has been too readily dismissed as sounding Joy Division like. Yet to reposition this in its rightful place in their canon is in no way to dismiss the power of their subsequent albums. But their excellence – and the clear distaste the group itself had for Movement, has tended to overshadow its mastery of the post-punk form and its status as arguably their most cohesive single body of work.

A cold, almost tinny artefact, the album is filled with filter effects – Hannett was either the greatest chancer ever or an absolute stone genius, and I tend to the latter view. Despite the greater use of keyboards, the filters and the glacial production make it sound almost entirely unlike anything they would do subsequently. There’s lots of space here, but there’s also a layering that wasn’t present before. In part that’s due to the keyboards – which are used sparingly but with a determinedly elegiac quality. That this should sound almost retro but doesn’t is perhaps due the emotional cast of the album. Lyrically and vocally it’s far too easy to write this album off as depressed – and the near emulation of Ian Curtis’s vocal style probably doesn’t help in that regard, but that’s not quite it. The vocals are urgent, reflective and often balanced between weariness and also a sort of anger. But whereas with Joy Division they seemed at times to drive the music, here it is the reverse as Sumner and Hook eschew front man status and allow the music to carry that role – an approach that characterised much of New Orders output through the 1980s and after.

And as the album continues this increasing emphasis on tone and texture is ever more evident. It starts with “Dreams Never End”, vocal duties taken on by Peter Hook. A song with an almost perfect introduction that sounds initially like Joy Division redux but then sharpish moves into a more complex layered sound. “Truth”, the next track might have cosmetic similarities with Joy Division too, but with synth drums and some odd melodic foreshadowing of tracks off Power, Corruption and Lies it too represents a shift. Then we’re into “Sense”, propelled by a none-more-deep synthesised bass, which uses a bunch of filters to provide more synthesised percussion. “The him” starts and stops and starts again, the rush of instrumentation reflecting the lyrical concerns. But the fullness of the sound pushes out vocals entirely as the track moves to its end.

It’s the second but last track, “Doubts Even Here”, which in a way provides the bridge between Joy Division and New Order. Once more, and for the last time with New Order, Hook took over lead vocals and provided a sound remarkably close to that of Curtis. A keyboard courtesy of Gillian Gilbert provides stately chords. So far so Joy Division, albeit at a slower pace. But then the percussion goes slightly mad with crashes and bangs that cut whipcrack across the track [and Stephen Morris deserves recognition for just how central he is to the overall sound], and a woman’s voice, again Gilbert, intones matching spoken vocals, an absolute first for New Order (and in some respects a last – unfortunately), something that gives it a post-punk edge that positions it directly in 1981 but somehow doesn’t quite date it.

Listen to the bass line in “Chosen Time” which lopes along, the urgent reiteration of a simple succession of notes… Even 31 years later… gulp, that has a raw power and urgency pushing it forward. It’s different to that which was to come later, more primitive – but it strongly hints at an electronica and dance inflected future. Finally “Denial”, a track that also presages future developments with a rapidly strummed guitar sound and a bassline that although on the surface seems to reference back to Joy Division is by contrast faster, almost funkier. They were decisively changing gear. And if it’s not quite what they would do next, it does indicate where they might have gone.

Pervading the music is a sense that they couldn’t take their original sound much further – even if the last Joy Division album had seen the introduction of touches of keyboard here and there. The weight of their history, only three or four years old, but already cohering into a near mythic body of work, wouldn’t allow them, and some sort of further experimentation, something different, was the only way forward.

Perhaps that’s the real power of this album. There’s much less sense of a group constrained by their past than might be expected, instead it sounds like a group, despite pro forma nods to that past, which is willing, and almost enthusiastic, to try to break free of it and in the process mapping out a range of alternative paths forward.

I think that was an achievement in itself.

Dreams Never End

Senses

Doubts Even Here

(more…)

Architects of the Resurrection: Ailtirí na hAiséirghe and the fascist ‘new order’ in Ireland – And some useful questions raised about democracy in Ireland in the early 20th century. September 10, 2009

Posted by WorldbyStorm in Irish History, Irish Politics, Northern Ireland, The Left.
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I know, I know. There’s another book out on the history of an Irish political party which is central to the interests of many of us here, but… it might be worth doing an appraisal of R.M. Douglas’s book on Ailtirí na hAiséirghe which is certainly one of the most interesting and thought-provoking histories I’ve read in quite a while.

For those unfamiliar with Ailtirí na hAiséirghe they were an essentially fascist party that was established during the early 1940s at a time when such movements were, perhaps, a little more popular and profitable than they might be later. They become remarkably popular and in 1945 gained seats at the local government elections. But, then tellingly following the foundation of Clann na Poblachta found their gains reversed. That alone is a fascinating history in and of itself and I’ll return, I hope, at a later date to discuss the book in general.

One issue raised by Douglas in the introduction is crucial to an understanding not merely of Ailtirí na hAiséirghe but also of the histories of the Emergency period, and that is that this is ‘the most under-researched and poorly understood period in modern Irish history’.

And as he notes, far from this being a ‘sclerotic’ time politically and culturally, it was by contrast a period of ferment.

This curious level of ignorance as regards Ireland during the 1940s has led to Ailtirí na hAiséirghe being all but written out of the histories. Indeed I first came across mention of the organisation in the very early 1980s while reading… Political Parties in Ireland which noted that it had some bizarre cultural and political philosophies but did not, as I recall, absolutely place it within the fascist camp.

But he also makes a point which I think is vitally important in its implications for Irish history of the early to mid-20th century, which is that ‘Anglophone historians have consistently de-emphasised, or more often entirely ignored, those political organisations that conducted their business in the Irish language, concentrating on more accessible movements like the Blueshirts that used English as their lingua franca. This omission is no doubt explained by the fact that, for entirely understandable reasons, few scholars in the field of European fascist studies have found it necessary to acquire a reading knowledge of Irish. In light of the strong correlation of cultural and political nationalism, however,the consequence has always been that the milieu out of which an authentically Irish fascism was always more likely to arise has been precisely the one that has received the least attention.

This reminds me of a conference I was at where the issue of bilingualism in the public space in the wake of immigration was raised. How would we deal with it in signage, public announcements and such like. It took a few moments before the point was made that Ireland was already bilingual.

One can be excused, I think, for a degree of concern as to what is already lost to us due to such a lack of appreciation and a working knowledge of the language. And there is no question but that this has closed off an understanding of sections of the society in a way which has been unhelpful, to put it mildly, in constructing useful histories.

There’s some way yet to go there one could also reasonably posit.

But, I’d like to point to what I think is one of the strongest aspects of the book which is the first chapter, entitled Anti-democratic influences in Ireland, 1919 – 39. This neatly engages with any number of myths about the nature of the society both before independence and in its wake, and as Douglas argues in the introduction ‘Aiséirghe’s history challenges a number of prevalent assumptions about Irish politics and society in the middle of the twentieth century. The first of these is the belief that independent Ireland was virtually predestined to become and to remain, a member of the family of Western liberal-democratic states’.

This is a theme he expands upon further. He notes that the Dáil was only able to convene twelve times during the War of Independence, but lest that seem like some form of original sin, he notes that the dispensation that arrived at the end of the conflict and subsequent to that… ‘because there never had been a negotiated settlement to the Civil War, [the] real possibility remained that hostilities would be renewed at some future stage’. And this led to very negative outcomes, although ‘institutions of state – many of them facsimiles of their British predecessors – were established… little effort was made to heal the festering wounds of the Civil War, or to seek even the smallest measure of common ground with the defeated republican element; rather in governmental circles a tone of triumphalism tinged with paranoia prevailed’.

And he points to a poverty of imagination that has much more contemporary resonances…

Fiscal orthodoxy of the most rigid and unimaginative kind frustrated any attempt to address the structural deficicencies of the Irish economy. The result was to deprive those at the bottom of the socail ladder not merely of the means of subsistence, but of any real hope for the future. Patrick McGiligan, Minister of Industry and Commerce encapsulated Cumann na nGaedhael’s take-no-prisoners approach to economic policy when he declared in 1924 before the Dáil that rather than face the prospect of an unbalanced budget, ‘[p]eople my have to die in this country and may have to die through starvation‘ – perhaps the most comprehensively asinine statement ever made by an Irish public representative.

Yet Douglas is not ungenerous as regards the change of government between Cumann na nGaedhael and Fianna Fáil barely a decade after the Civil War. That was, without doubt, a pivotal moment for the state – and its people and Douglas regards CnaG as demonstrating both ‘integrity and courage’. Yet he points to the way in which that transition led to expressions of anti-democratic feeling in terms of the Blueshirts. While no means as kind as Maurice Manning has been in terms of exculpating the Blueshirts of fascist tendencies he notes that the membership was largely free of same, unlike elements of the leadership. But in fairness Fine Gael rapidly recognised the dangers of this slightly extra-parliamentary oppositional force and O’Duffy was sidelined.

If original sin there was he implies that it existed further back – and this is an analysis to give pause for thought for those who tend towards the idea that 1916 was an alien and anti-democratic irruption in the Irish body politic. For Douglas dismisses the rosy notion that Ireland was pre-schooled in democracy during its experience of British rule. Indeed he argues that quite the opposite conclusion can be taken from a reading of that history.

Notwithstanding Basil Chubb’s assertion that the era of British rule under the Union served to inculcate the irish people with democratic habits and practices, and Brian Farrell’s related argument that the constitutional nationalist struggle was a school of democracy that left a lasting impression even on the republican militants who founded the first Dáil in 1919, other scholars have called into question the degree to which a meaningful conceptual distinction can be considered to exist between proponents of ‘moral’ and ‘physical’ force in the nineteenth century. One may further legitimately inquire as to the precise nature of the ‘lessons’ imparted by political activism in ireland under the Union. In the mid-nineteenth century, as Jonathan Sperber reminds us, Ireland represented the closest approximation in all of Europe to a ‘police state’, with fourteen times as many armed policemen per capital as in ‘absolutist’ Prussia.

And he points to how ‘it is important to bear in mind how very frequently in modern Irish history the evolution of democratic processes was retarded, frustrated or undermined by state policy… the disenfranchisement of the ‘forty-shilling freeholders’ in 1829, seemingly as a collective punishment for their having voted in excessive numbers in support of Daniel O’Connell’s Catholic Association, represented merely the most glaring example of a tendency throughout the 19th century to countenance the operation of democratic principles only to the extent that it did not conflict with executive authority. In the same category can be included the vetoing of the expressed will of the Irish majority on the Home Rule question, first by the House of Commons in 1886 and then by the unelected House of Lords in 1893, the denial to Ireland of a system of local government until 1898; and the passage of more than 100 so-called ‘coercion acts’ granting emergency powers to the executive between 1800 and 1921.

This background noise built up into a profound rupture between state and subject. As he notes, ‘…no scholar to date has systematically examined the impact of these laws in eroding public confidence in the impartiality of the state and the responsiveness of nominally democratic systems to popular concerns’.

Indeed this entirely belies the idea that somehow Ireland was already on a trajectory to normalisation within a broader and embracing British polity. At every point where such a normalisation could feasibly (although I have to admit, not to my satisfaction as an outcome) occur, potentially in the 1910 – 1914 period the actualities of Irish socio-political life generated crucial paradoxes and contradictions that the record demonstrates the British were unable and unwilling to act in a fashion that would have placated the extant sentiment that remained favourable to their project.

Similarly, the immensely turbulent decade 1913-23 which witnessed the eventual rupture of the Union can have done little to reinforce the confidence of Irish citizens in the efficacy or sanctity of parliamentary procedures. As David Fitzpatrick observes of the immediate pre-Great War period, a ‘private army ruled in Ulster with the acquiescence of the state’. Of this organisation, the UVF, one Protestant Ulsterman in three was a member; across the entire island the comparable figure among Catholics for its nationalist counterpart the INV, was one in eight. The UVF’s attempt, with the connivance and, in some cases, the active assistance, of leading figures in British military and political circles to overturn a parliamentary majority in favour of Home Rule for Ireland by the threat of force has been described as constituting ‘the most devastating blow struck against constitutional democracy in modern Ireland or Britain, the most notorious case of running off the pitch with the ball when losing the game’. Whether or not this is so, the ease with which democratic procedures could be defeated by armed miniorities was carefully noted by members of both communities.

In such a context perhaps the truth is that the truly remarkable outcome is that the independent part of the island developed a relatively flexible and democratic polity rather than the opposite. Certainly the omens were far from good. And given that the British state was itself in many respects only partially democratic it seems almost perverse that such weight should be given to institutions and practices which were only adhered to under the most favourable conditions. There is no small degree of optimism in the belief that their application beyond their geographic boundaries would be as complete as some protest.

Obviously Douglas uses this to explain how anti-democratic currents ran through Irish life, but in doing so I suspect he does a great service in underlining the delicate nature of democracy on the island both before and after partition and how the obvious contradictions between rhetoric and reality in relation in particular to state and political actors undermined any hope that a simple, straightforward and coherent narrative could be constructed as regards the nature of the polity and democracy.

And occasionally, as with the Blueshirts, or indeed their Republican opponents this came to be couched in the language of freedom, particularly of speech. Another element of the overall dynamic was religions. Douglas has an illuminating couple of pages on the Rosary Riots, where mobs – encouraged rhetorically by some sections of the clergy – attacked Connolly House (and this sort of activity was directed at communists and socialists). Far from this demonstrating a passive and acquiescent, almost ‘beaten’ society, in the wake of the tribulations of the early 1920s by contrast this seems to point to a society that was seething, perhaps at the scale of those tribulations and their eventual ramifications. Douglas argues that in Ailtirí na hAiséirghe itself we see an expression of a sort of nascent youth culture that perhaps was subsumed in later decades into more banal cultural forms. But I’d wonder if it doesn’t go beyond that into a sort of existential angst on the part of the society as a whole, or at least the evidence of profound fractures within the society.

This relationship between the polity and democracy was central to political endeavour. From the Blueshirts who couched their efforts in a strongly republican language as regards the North (and in that they were but an echo of the arguments that surrounded the Army Mutiny in 1924) to an IRA which in the 1920s and thereafter saw itself as the legitimate and sole inheritor and expression of the Dáil to a Fianna Fáil that regarded itself as the national movement and a Fine Gael that in a neat reflection believed it was the only fit party of government this relationship took more or less pernicious and/or absurd forms.

There’s much more than this and as well worth returning to again. I can think of two books on Irish history that are worth looking at this month. This should – in my opinion – be one of them.

I blame Tony Wilson: Joy Division, New Order and those who were – ahem – ‘influenced’ by them… August 12, 2007

Posted by WorldbyStorm in Culture, Music.
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I don’t want to expand upon smiffy’s fine tribute to Tony Wilson. But I’d like to note that Tony Wilson is responsible at least in part for a lifetime of purchasing music by bands that ‘owed’ something to Joy Division and New Order.

I should explain that I’ve always been fascinated by ‘xerox’s’ of original bands. What I mean by that is when a band adopts another’s sound in whole or part. Sometimes this is an appalled fascination, sometimes something approach admiration. A good example would be the relationship between Bowie (and perhaps the Sex Pistols) and the Psychedelic Furs. But a better example would be the relationship between the Psychedelic Furs and the Immaculate Fools.

In the years since I first heard Joy Division and early New Order I’ve always been interested in bands which utilised some aspect of their particular styles. And I’ve spent good money – and bad – on albums which broadly speaking don’t come close to the originators of the sound.

It’s not difficult to determine which were the key elements, from the basslines to the vocals to the guitars. Now let’s not get carried away. Listen to much of Unknown Pleasures and one can hear echoes of the Stooges, or Bowie or indeed krautrock in the mix. It’s a simple template, at least on paper, but one which allows for multiple interpretations and reinterpretations.

And that simplicity was one which attracted a number of contemporaries of Joy Division, Wire being the most obvious example of a band who developed a similar sound simultaneously. But the Cure seemed to ‘borrow’ elements – it’s hard to listen to “All Cats are Gray”, or most of the later material on Pornography and not see at least some stylistic influence. Robert Smith at that stage of his career (and I write that as someone who would not be a huge fan of the Cure) was astute enough to manage to transcend the influence and inhabit a particular and idiosyncratic niche in the style. Arguably even Echo and the Bunnymen had a hint of that in their sound – whatever the witterings about the Doors being their major influence. U2 in the early days had a similar stark sound, but that may have been the influence of Martin Hannett. The Chameleons, who started recording as early as 1981, perhaps nodded towards them.

All well and good. Of course, if we look closer to Joy Division we can see a range of bands which used a very similar sound. The Stockholm Monsters spring to mind most readily. Their music was almost a check list writ large. Rapid bassline? Check. Tinny guitar? Check. Baritone vocals? Check. And to be honest there is something about their material which is really attractive. Vini Reilly of Durutti Column had a hint of the glacial aspects of Joy Division. But that I’d ascribe to a similar aesthetic and again one Mr. Hannett.

Then there were the other bands in the Factory stable, such as Crispy Ambulance, the Wake and Section 25 who ploughed a similar furrow.

Beyond that were bands who were part of post-punk, such as Siglo XX who bought into the sound. I remember John Peel once bemoaning the fact that around 1981 every second band that sent sessions into him sounded like Joy Division.

An interesting splintering occurred about this point where elements of post-punk detached to what would later become Goth. Early Bauhaus, and one thinks of their cover of Eno’s Third Uncle, or even more clearly “Terror Couple Kill Colonel” (which even today is a genius song) used aspects of the Joy Division sound. The March Violets despite having both female and male lead vocals were remarkably similar in sound, as were Red Lorry Yellow Lorry. And naturally it’s impossible to ignore the Sisters of Mercy who looped back to Bowie but with more than a nod to Curtis and Hook. Bands like Clan of Xymox in their earliest incarnations – before they found dance – also utilised a strong element of the sound.

Industrial was also open to the influence. Granted not particularly people like Front 242. But later as it mixed with dance hints of both Joy Division and New Order enter the picture. We can blame the vastly more commercial Depeche Mode in part for this process. When they decided to go all doomy and introspective in the late 1980s and early 1990s there was already a path for them to follow.

This arguably reached it’s high point with Electronic Body Music (EBM) and bands such as VNV Nation and Pride and Fall who reference the sound of Joy Division but recontextualise it within trance and techno sequenced patterns. So there perhaps it is a case of both Joy Division and New Order influencing a sound jointly.

And here it’s worth pointing out that New Order always tussled with the Joy Division legacy themselves. For my money New Orders first album Movement is a criminally underrated. Why so? The band itself detested it, which is curious because it marries keyboards and synthesised bass lines in a way that NO fans would come to know and love. But I suspect the reason for that is that Bernard Sumners vocals were treated in order to get a more Ian Curtis like baritone. The only thing missing from future albums is a sequencer. But listen to Low-Life, Brotherhood and subsequent albums and it is clear that the experimentation on Power Corruption and Lies was – as it were – only part of the New Order palette and the less electronic influenced sound was pivotal to their identity (exemplified by the experience of seeing them live where the two ‘sides’ of their sound are quite distinct). Incidentally, on a slight side issue, it always strikes me that Gillian Gilbert provided a huge element of their sound, that of the lush keyboard sweeps, and yet her profile is remarkably low – and speaking of Movement, it is impossible to conceive of the synth arrangement on Thieves Like Us in the absence of “Doubts even here” on Movement.

Meanwhile we’ve been treated over the past decade by a plethora of bands which have taken elements of the sound, or even appropriated it wholesale (actually anyone remember a version of Smells Like Teen Spirit that Nirvana did on the BBC which according to Cobain was an emulation of Morrissey, but sounds a lot more like Ian Curtis to me?) . As early as 1996 Mansun on “Wide Open Space” hinted at the sound. More recently Interpol blend the Chameleons and Joy Division. I love you but I’ve chosen Darkness likewise. The Editors…well the Editors. The less said the better. Primal Scream perhaps carried it off most classily by inviting Bernard Sumner to contribute to Shoot Speed/Kill Light on the XTRMNTR album… kudos.

Some unlikely bands have paid homage to them. Take the Pernice Brothers, better known as fey folksters, whose “Sometimes I remember” starts with a flourish of guitars near identical to that heard on “Love Will Tear Us Apart”. Or what of Dead Can Dance and their track ‘Spirit’? Meanwhile Irish bands were in no way shy about hiding the influence of the band. Blue in Heaven gave it a go on their first album before scurrying back to a more Iggy and the Stooges sound. Some may remember Guernica who tried the same (Joe Rooney from same went on to greater things). And later Into Paradise. There are more, no doubt.

Lest you are curious about such things, naturally I don’t have all the above mentioned tracks. No, definitely not. I don’t think I’ve got any March Violets. I mistakenly downloaded The Editors, but I never bought a Guernica single, and my copies of Blue in Heaven and Into Paradise were stolen long ago. But so much money Mr. Wilson. So much money, when in truth most of the time I might have been better sticking with the originals!

Finally and oddly enough while there has been a clear influence from Joy Division/New Order on dance and electronica it has rarely been as specific as this from Colder… check it out.

That new Brexit border… May 29, 2019

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This from Slugger certainly skewers notions that there’s any prospect of a ‘technological’ border on the horizon. Peter Donaghy notes that any such border would be an intrusive surveillance technologies nightmare. He suggests:

However, to focus on the technological challenges of these “alternative arrangements” is to miss the point entirely. None of the technological solutions being discussed are technologically unfeasible. The issue is a moral and ethical one. To implement all of the ideas that are being discussed would, in addition to the red tape and bureaucracy imposed on business, be tantamount to the creation of a surveillance state.

There’s an interesting distinction between being unfeasible and not being technologically unfeasible. There are so many layers to this, and some are so politically and otherwise unacceptable that in practical terms they may would prove impossible to implement. And the technological aspects seem so complex that even if in theory they might be achievable in practice one has to wonder. Indeed buttressing the sheer dubiousness of the propositions is the fact they are implemented nowhere in the world and we’ve seen no real sniff of a practical outline of these advanced technologies from the UK government in what is now three years or so since Brexit.

There’s some genuinely panglossian stuff in the comments section about how nothing will change. This from the IT and Piaras Mac Éinrí, lecturing in geography and European Studies at UCC from earlier in the year may dispel such illusions.

The New International Order: Imperialism in the 21st Century PUBLIC LECTURE–THURSDAY 6TH MAY 2010 May 5, 2010

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PUBLIC LECTURE–THURSDAY 6TH MAY 2010

The New International Order: Imperialism in the 21st Century

Lecture series at the Ireland Institute

Lecture 4: Resistance and Alternatives

Bernie Dwyer will speak about ALBA and Latin America, and Niamh Gaynor will speak about local resistance in Malawi.

Bernie Dwyer, journalist with Radio Havana Cuba and well known film maker, will speak about the Bolivarian Alliance for the Peoples of Our America (ALBA) and resistance and alternatives in Latin America to the economic, political, cultural, and military strategies of the US, EU, and other outside countries and organisations in their relations with Latin America. ALBA offers an alternative to the free trade agreements and liberalisation of trade that the US, EU, and WTO have sought to impose in the region. Instead, ALBA seeks regional economic integration and mutual economic aid, with the goal of meeting the needs of the peoples of Latin America, who have suffered under outside interference for so long.

Niamh Gaynor, a lecturer in the School of Law and Government at DCU, will talk about local resistance to the global development project in Malawi. She will examine the contradictions between the imperatives of the international aid industry and local concerns and interests in Malawi. While international intervention has opened space for civil society, which has blossomed in Malawi, the demands and conditions imposed by the donors risk shutting this space down. The differences in political culture between Africa and Latin America will also be addressed, and why there seems to be much more organised resistance in Latin America.

The new international order is based on the global reach of capitalism. As capitalism expands into all areas of the globe through investment and trade, new global divisions of labour are imposed and new patterns of political influence and domination come into being. This imperialism leads to increased exploitation of workers and peoples in the poorer countries and reinforces the control of capitalism in the rich countries.

Following the financial crisis and in the midst of recession, more and more people are asking whether capitalism can provide decent societies for people to live in and meet the needs of peoples across the world to lead good and fulfilling lives. The lectures in this series at the Ireland Institute are addressing these issues.

In the fourth lecture, the speakers will explore how people in different parts of the world have resisted domination and exploitation. They will point to ways in which we can all try to work to build better societies, in which people can live decent and fulfilling lives.

The Pearse Centre, 27 Pearse Street, Dublin 2
8.00pm, Thursday, 6 May 2010

Further information from Finbar Cullen at the Ireland Institute, 01-6704606

IONAD AN PHIARSAIGH, THE PEARSE CENTRE,
Institiúid na hÉireann, The Ireland Institute,
27 Sráid an Phiarsaigh, 27 Pearse Street,
Baile Átha Cliath 2. Dublin 2.

The New International Order: Imperialism in the 21st Century – Lecture series at the Ireland Institute April 20, 2010

Posted by WorldbyStorm in European Politics, Irish Politics, The Left.
11 comments

The New International Order: Imperialism in the 21st Century

Lecture series at the Ireland Institute

Lecture 2: The EU and its global ambitions

Roger Cole and Kevin McCorry to speak about the EU and the exertion of power beyond (and within) its borders

Roger Cole of the Peace And Neutrality Alliance and Kevin McCorry of the People’s Movement will speak on the European Union and its ambitions to become an important ‘player’ on the international stage. While the Lisbon Treaty aims to give the EU the institutional structures and coherence to present itself as a unified actor at a global level, the marginalisation of the EU at the Copenhagen climate talks showed that it has much ground to make up.

The speakers will address all aspects of the EU’s efforts to exert power beyond its borders: economic, political, cultural, and military. While Jacques Delors spoke of resource wars in the 21st century and the EU has worked to increase its ability to intervene militarily, both alone and alongside NATO, economic, political, and cultural pressure is also being applied by the EU in its dealings with the world. The conditions that the EU seeks to impose on trading partners in the global South are one example of this. The debates about the use of European ideas of human rights to extend European influence throughout the world are another.

This is a vitally important subject for Ireland and its citizens, and the speakers will question the extent to which the EU’s desire to become a global power has undermined national sovereignty and democracy within its borders.

This is the second lecture in the series. Other lectures will look at the situation on the ground in Haiti and Africa; and alternatives and resistance to power and domination.

The Pearse Centre, 27 Pearse Street, Dublin 2
8.00pm, Thursday, 22 April 2010

Further information from Finbar Cullen at the Ireland Institute, 01-6704606

______
IONAD AN PHIARSAIGH, THE PEARSE CENTRE,
Institiúid na hÉireann, The Ireland Institute,
27 Sráid an Phiarsaigh, 27 Pearse Street,
Baile Átha Cliath 2. Dublin 2.

tel: +353 (0)1 670 4644

e-mail: bookings@theirelandinstitute.com

web: www.theirelandinstitute.com