27 Jan 2013
From Movement to Power, Corruption and Lies 
Review by moist of the recent Manchester Cathedral gig by Peter Hook and the Light:

Two church visits in one day! One a funeral, one a celebration - both chances to remember old friends.

Unlike The Light's earlier Joy Division Reduxes, this one was never going to be easy - charting the transition between the first two New Order albums: Movement to PC&L, Curtis to Sumner, live to 'sequence'.

But Hooky's band manage to pull it off again with a vocal strength that belies the obvious range difference twixt Sumner and Hook, a stunning guitar prowess that was never there in the original live event, a subtle interplay between the duelling basses (funny - I seem to remember nowt but complaints from Hooky the producer/engineer when faced with two bass players!) and the overall confidence of a well-toured, bedded-in backline.

Perhaps it was time, place and occasion (or old age) but I found myself revisiting not the studio recordings of these classic albums but all those live occasions related to them: gigs attended - Squat, Comanche, Ritz, Brum; tapes collected - Tiffany's, Utrecht (or was it Amsterdam); videos watched - Glastonbury 81, BBC 84; Sessions heard - Peel 81 & 2.

Then I realised what was missing then and is present in abundance now: Enthusiasm. From everyone. Finally.

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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.

- extract from the LTM Biting Tongues biography

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