| Artist |
New Order |
| Album Title: |
Power, Corruption & Lies |
| Album Cover: |
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| Primary Genre |
Electronica/Dance: Synth Pop |
| Format |
Vinyl 180 gm |
| Released |
05/00/1983 |
| Reissue Date |
10/06/2009 |
| Label |
Rhino Records |
| Catalog No |
R1 25308 |
| Bar Code No |
8 25646 88805 4 |
| Packaging |
LP Sleeve |
| Tracks |
| A1.
|
Age Of Consent (5:15)
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| A2.
|
We All Stand (5:13)
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| A3.
|
The Village (4:37)
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| A4.
|
5 8 6 (7:29)
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| B1.
|
Your Silent Face (5:59)
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| B2.
|
Ultraviolence (4:51)
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| B3.
|
Ecstasy (4:25)
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| B4.
|
Leave Me Alone (4:41)
|
|
| Date Acquired |
08/05/2020 |
| Personal Rating |
 |
| Acquired from |
Record Sale Event |
| Purchase Price |
25.00 |
Web Links |
All Music Guide Entry:
Discogs entry: |
Notes |
The second album by New Order, released on 02 May 1983.
With its electronic-based sound it marks the definitive turning away from the rather gloomy predecessor and the Joy Division legacy. The album was included in the top 100 albums of the 1980s lists in the Rolling Stone magazine.
Peter Saville's design for the album cover has a colour-based code, similar to the singles Blue Monday and Confusion as well as to the album Section 25 - From The Hip. The decoding wheel is featured on the back cover, and on the cassette insert. The code on the front sleeve is "FACT 75". The code for the CD front cover is "FACD 75". The code for the inner sleeve reads "New Order Power Corruption And Lies".
The cover features a reproduction of the painting "A Basket of Roses" by French artist Henri Fantin-Latour, which Saville found on a postcard he bought at the National Gallery. His then girlfriend Martha Ladly (of Martha & The Muffins) asked him if he was going to use it for the cover. He then realised it was a great idea.
The album cover was chosen by the Royal Mail for a set of "Classic Album Cover" postage stamps issued in January 2010.
Manufactured For – Rhino Entertainment Company
Marketed By – Rhino Entertainment Company
Manufactured By – Record Technology Incorporated – 18454
Lacquer Cut at – Metropolis Mastering
Artwork – Peter Saville
Engineer – Michael Johnson
Engineer [Assistant] – Barry Sage, Mark Boyne
Lacquer Cut By – Frank
Painting [Cover Painting] – Fantin-Latour
Producer – New Order
Manufactured & Marketed by Rhino Entertainment Company, a Warner Music Group Company, 3400 W Olive Ave, Burbank, CA 91505-4614
Printed in USA
Matrix / Runout (Side A, stamped): R1-25308 A
Matrix / Runout (Side A, stamped): 18454.1
Matrix / Runout (Side A, etched): B 9737>4-0> A>
Matrix / Runout (Side A, etched): Frank- Metropolis
Matrix / Runout (Side B, stamped): R1-25308 B
Matrix / Runout (Side B, stamped): 18454.2
Matrix / Runout (Side B, etched): B 9737>4-0> B>
Matrix / Runout (Side B, etched): F.A.
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| Reviews |
Power, Corruption & Lies Review by John Bush:
A great leap forward from their understandably funereal debut album, Power, Corruption & Lies cemented New Order's place as the most exciting dance-rock hybrid in music (and it didn't even include the massive "Blue Monday" single, released earlier that year). Confident and invigorating where Movement had sounded disconsolate and lost, the record simply pops with energy from the start. "Age of Consent," a shimmering pop song with only a smattering of synthesizers overlaying Bernard Sumner's yearning vocals, proved his most assured performance yet. Unlike most of their synth pop compatriots, New Order not only utilized a wide range of synthesizers and sequencers but also experimented heavily with them. Bolstered by the addition of Gillian Gilbert, the band make the most out of their electronic gadgets, crafting indelible sequences, complex drum patterns, and oddly emotional washes of sound. What's more, while most synth pop acts kept an eye on the charts when writing and recording, if New Order were looking anywhere (aside from within), it was the clubs: both "The Village" and "586" had all the technological firepower and propulsive rhythmic strength of the mighty "Blue Monday." But whenever the electronics threatened to take over, Peter Hook's dubby, melodic basslines, Sumner's plaintive vocals, and Stephen Morris' point-perfect drum fills reintroduced the human element. Granted, they still had the will for moodiness; the second track was "We All Stand," over five minutes of dubbed-out melancholia. Aside from all the bright dance music and inventive production on display, Power, Corruption & Lies also portrayed the band's growing penchant for beauty: "Your Silent Face" is a sublime piece of electronic balladry and "Leave Me Alone" is a wonderfully melancholic slice of post-punk guitar pop. The album stands as a thrilling introduction to a band finding its feet and leaping ahead of the pack, combining superior songwriting skills, imaginative playing, and stunning arrangements that mixed the present with the future.
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