That song!

[Tom]

Duvel, man, at the start of the 'Memoriam of the Pornomobiel' video where you and a chum are driving down a highway in The 360GLT, what's the first song on the soundtrack called?

'I used to think that the day would never come' etc..

It's cool!

[Duvel78]

It's one of my favourite song...

Hint: you hear that song in the movie "American psycho"

Ok it won't help you so much. It's "True Faith" from New Order, a very interesting group during the eighties and for those who want to know a little bit more, I make a copy of a good biography found on a website.

(article from Matt Davies on www.manchesteronline.co.uk)

NOTHING has enriched Manchester like New Order since the days when cotton was king.

Not content with being electro-pop pioneers, or making some of the finest music since man discovered machines, they also sustained the creative life of the city through their backing of Factory Records and Manchester's Hacienda club.

When Ian Curtis' suicide in 1980 brought the final curtain down on Joy Division, remaining members Barney, Hooky and Stephen regrouped as New Order, adding Stephen Morris' girlfriend Gillian Gilbert on keyboards.

Initially, Joy Division's legacy over-burdened the band, and their first album Movement (1981) suffered as a consequence, with Barney's vocal sounding like an Ian Curtis parody.

Their second album Power, Corruption and Lies (1983), however, saw the band discover their own identity by experimenting with electronic gadgetry.

They built on the cold, machine music of electronic pioneers Kraftwerk by marrying it to industrial, dancefloor rhythms. But what pushed this confection beyond obvious influences and antecedents was Hook's distinctive bass playing, Morris' trademark driving drum-beats and Barney finding a singing style suited to his bitter-sweet lyrics.

That they had stumbled onto something special was confirmed by the release of Blue Monday in the same year. A defining moment for the band, and British music, the song became the biggest selling 12 inch single of all time and remains a guaranteed floor-filler on dancefloors around the world. And this from a band on an independent label in an early-Eighties era where disco was a dirty word.

A collaboration with New York dance producer Arthur Baker followed - Confusion (1983) and Thieves Like Us (1984) - showing how the band were insulated from the faddism of Britain's early eighties indie scene, yet stood aloof from the sterile pop mainstream.

In short, without references, they wrote their own rule-book. And in that book, playing the fame game did get even a footnote.

Their refusal to play Top Of The Pops unless they could play live was a product of their principled reluctance to perform on the music industry's promotional treadmill. They were, however, willing to put their hard-earned back into their home city, becoming backers to Manchester's legendary Hacienda club and adding much needed cash to the coffers of their independent label Factory Records.

Their next album Low Life (1985) surpassed Power, Corruption and Lies in its consistent brilliance. From opener Love Vigilantes to final track Face Up, it was difficult to discern a duff moment.

The album was like nothing else of the time: sensitive lyrics with sarcastic pay-offs that gave soul to cold synthesised rhythms. Brooding, elegiac tracks such as Sunrise showed how New Order, uniquely, could make cold, electronic music that tugged at the heart strings, while maintaining the mechanical, rhythmic muscularity to devastate dancefloors.

Their next album Brotherhood (1986), like Lowlife, failed to muster massive sales, but sustained their fervent following, and, as always, returned uniformly favourable critical reviews.

Another breakthrough for the band came with 1987's True Faith single. Accompanied by an award-winning Phillip Decouffle video, it became the band's first UK Top 5 hit.

Their finest moment, though, came with 1989's Technique LP. As co-owners of the Hacienda, they were perfectly positioned to witness first hand the seismic shift in club culture occurring in the late 80s due to the impact of acid house.

And Technique, recorded in house-music's spiritual home Ibiza, absorbed these shifts, becoming the aural accompaniment to the second Summer of Love. Blissed-out singles such as Fine Time situated the band at the centre of the rave revolution, but, being New Order, the sunshine in their sound was tinged with sadness, giving the record a shelf-life beyond the comedown that followed acid house's early high.

The summer of 1990, brought them a number one hit with the finest England football song ever made (not difficult, admittedly), World in Motion, which subversively included the chorus 'E for England' and bizarrely John Barnes rapping.

Following this success, the band retreated into a number of separate projects: Peter Hook played out his rock-god fantasies with Revenge, Barney teamed up with Johnny Marr in Electronic, and Gillian and Stephen made music under the modest moniker The Other Two at their home in Macclesfield.

Despite rumours suggesting the band's demise, they surfaced triumphantly with Republic in 1993, which contained the sublimely wistful single Regret. More downbeat and darker in tone then Technique, Republic returned the most mixed critical notices that the band had experienced.

This, the collapse of Factory Records, and a return to other projects, suggested they were close to calling it a day.

But, Hallelujah and Hail Mary, over the last two years, differences have been patched, concerts performed to rapturous receptions and a recording studio booked. A new album is said to be imminent, and the superlative quality of their other recordings makes it one of the most eagerly-awaited album releases of 2001.

http://www.manchesteronline.co.uk/enter ... raphy.html