5 Jan 2005
New Order guest star on Gwen Stefani album 
LAWeekly.com has a review of the new Gwen Stefani album 'Love Angel Music Baby' which features a contribution from New Order on the track "The Real Thing" which it claims is easily one of the album's best moments and is "a mercifully irony-free nod to the synth confections once sneered at by critics and fans of "real" rock music. The chilled outlines of those songs were warmed from the inside by chords of melancholy."



Elsewhere, the NME has its version of the inside story on how New Order came to hook up with Stefani in the first place: "Singer Bernard Sumner said: 'She asked us (to write a song) but we told her that because we were in the middle of writing our own album, we wanted to keep the good songs for ourselves'. Undeterred, Stefani went away and wrote the track 'The Real Thing' in the style of New Order, which the band then came and played on."



Artist: Gwen Stefani

Title: Love Angel Music Baby.

Label: Interscope

Catalogue number: 2103177

Out: Now



Thanks to Paul and OMNY.

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Biting Tongues

In the grey days of late 1970s post-punk Manchester, youth culture was a serious affair: every musical performance was measured mostly by the conviction of its delivery. The term 'New Wave' opened up free vistas where acquired skills could once again be exercised after punk's monochrome blur. It could be applied to anything from a James 'Blood' Ulmer record to the latest Throbbing Gristle release, Magazine to Swell Maps. Move outside that terrain into Sun Ra, Parliament, Frank Sinatra and Martin Denny, and your options were suddenly without limit...

Then came Tony Wilson's Factory Club (at the Russell Club in Hulme) offering an open invitation to experiment that was taken up when Ken Hollings, Howard Walmsley, Eddie Sherwood and a few others decided to make some noise to accompany their 16mm silent epic Biting Tongues. A further performance followed a few weeks later, when Colin Seddon and Graham Massey disbanded their Post Natals project and joined up. The film itself, a flashing series of negative images, became a memory; the name remained.

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