New Order's Waiting for the Sirens' Call might be one of the most eagerly anticipated albums in recent memory. On one hand, the old fans hoped the group could rediscover their electronica roots, while indie hipsters looked for the source of a new wave revival. The former will likely be pleased, while the latter will discover that New Order is less accessible than most neo-New Wavers.
The band makes liberal use of a chiming bell noise-most likely a treated guitar effect-to signify \We're back, don't worry"" to a generation of MTV-indoctrinated masses, tired of the facile, recycled crap on the radio and television. Indeed, New Order returned not a moment too soon-surely, somewhere, Ian Curtis is smiling down upon New Order.
The opening track, ""Who's Joe?"" begins in typical New Order fashion-ambient synth pads abound with futuristic sound effects and what sounds like a space-aged bell. The swirling synthesizers crescendo under an arpeggiated rhythm until the divine hands of Stephen Morris propel the song forward with a snare roll.
Sirens' wisely channels many of New Order's best musical moments and updates them for the 21st Century. While New Order no longer writes the epic dance tracks characteristic of their previous albums, they still write easily danceable tunes.
The title track calls to mind the band's sound between 1979 and 1981, both as Joy Division and as New Order, particularly in Stephen Morris' drum work, Pete Hook's bass lines and the late '70s-inspired analog synth pads. ""Krafty,"" the album's first single, is musically upbeat but conveys themes of loss and redemption, albeit with the occasional cringe-inducing lyrics such as ""But out there the world is a beautiful place / With mountains, lakes and the human race."" No other songwriter can get away with so much lyrically; it is a credit to Bernard Sumner's limitless passion.
After ""Krafty,"" the songs are geared more toward the dance floor. ""Morning Night and Day,"" is a delightful collage of synthesizers that recalls New Order's best work. However, the delayed and fuzzed-out guitars seem out of place, and the chorus is rather weak and poppy. Still, Hook's smooth lead bass saves even the weakest moments of the song.
""Dracula's Castle"" is probably the most ridiculous title ever from a serious band, and the embarrassment is amplified when Sumner uses the title as a lyric. Again, the synthesizers and Hook's bass work save the song. But then again, Hook is a genius of rhythm and melody-this is expected.
The Scissor Sisters' Ana Matronic shows up on ""Jetstream,"" and the dueling male/female vocals are fantastic. This is one of the two tracks on the album that really does not sound like New Order, but the pure sing-a-long nature of the chorus is irresistible. It is all quite ridiculous, but exciting nonetheless.
""Turn"" is a bass-driven New Wave song in the tradition of Technique and Republic. Synthesizers sparsely populate the song, giving it the typical New Order majestic swirl, characteristic of songs like ""All the Way"" and ""Love Less.""
With many reservations, Waiting for the Sirens' Call might be considered among New Order's best work. The first few listens are difficult because of the heavily produced nature, when a return to epic dance-pop was widely anticipated.
On Waiting for the Sirens' Call, the band has moved beyond the extended dance tracks of yesteryear to incorporate nearly every sound they pioneered under the names Joy Division and New Order.
Nevertheless, Waiting for the Sirens' Call is exceedingly danceable and catchy. With everyone from the Killers and The Bravery championing in a so-called 'Nu-Wave' movement, New Order's stock has risen exponentially, and the album is sure to move a few copies. Unlike the aforementioned bands, New Order has once again proven their relevance, and their sincerity remains unchallenged.
