From the get-go, it doesn't appear all too promising - the cover art looks somewhat tacky, what with the crossfaded images and an unappealing mix of fonts. Most would agree this is the band's worst album art, which is disappointing considering it comes right after Technique's, which looks far more distinctive. But obviously the music is the most important aspect...yet this time, it's not as strong as Technique was, in fact it treads common ground a bit too often and mostly plays it safe.
The album begins with Regret, which is a pleasant song to listen to. From the first riff it sounds exciting, though it doesn't really go anywhere too adventurous - it's a decent rock song with strong vocals and a chorus to match, backed by a good bassline. At times, it's quite wistful, and is perhaps fitting as the band's last major chart hit - the lyric "There's nothing I regret" could be applied to a relationship, or, as I do, to the band to this point - and to be fair, the albums have been spotless to this point.
Unfortunately, World (The Price of Love) isn't as strong. It's got a catchy house beat for sure, and instrumentally it's not a poor effort, in fact it's Technique-esque, but the poorer chorus, coupled with how dated it sounds means it's not as great a follow-up. It's far more reflective of the beach half of the cover art than it is of the burning house half; it looks towards Ibiza for inspiration, and this playful track is the outcome.
Ruined in a Day's mechanical opening is trance-like, but the song then devolves into a more melodramatic direction that bores me. The piano and violin are nice additions, and the bass is there, even if largely hidden. It's okay, though nothing remarkable, and it really shouldn't have faded out like that. Spooky, meanwhile, tries to up the energy, and makes for a far catchier and effective dance song - there's even some bass! Yes, it's not as great as the tracks on Technique, and maybe it's too radio-friendly, but, aside from that frustrating fade-out, it's decent. And with that, I've just reviewed all four singles.
Everyone Everywhere is the most mundane yet. It's far too sappy and unambitious, with lyrics about committed love and vocals to match. Maybe I'm too resistant to change, but where are the songs on how love is uncertain and complex, instead of this dull attempt at a ballad? At least there are some flourishes of guitar, coupled with a decent outro, but it makes for a pale imitation of the New Order I love. So at least we have the energetic clublike Young Offender to follow. The synths are vibrant, with Gilbert's lively keyboard playing delightful, and I much prefer Sumner's singing here. It's a very strong effort and I wish more of the album was like it.
Ordinarily I'd say Side 1 has ended, but this is the 90s and Republic was mainly released on CDs, so...onto Liar. It's more laid back, dominated by a cute synth-line as well as a tight chorus with backup singers, and even some guitar in the bridge. It may not go beyond that, in fact it's rather basic rhythmically, but it'll keep your feet tapping.
I'd call Chemical "industrial pop" with its droning bass that makes it sound somewhat rough. Add in some sweeping synths and a high tempo, and you have an improvement on the previous song, even if it's still rather bland. The only downsides would be the vocals don't sound as empassioned, and it fades out abruptly, though I should be expecting that by now.
Times Change sounds grand with its brass and violins, before trying at times to be pseudo-hip hop. Sumner should stick to his regular vocal style instead of trying to rap, he's not that good at it. Admittedly, the transitions from verse to chorus are pleasant-sounding, and the drumming and flute aren't too bad. Special's opening drum break makes me think it will follow a similar trajectory, but the bass and violins suggest otherwise, and it's more sweet-sounding standard synthpop. I don't have more to add on it, except that the outro is stunning, with a fade-out that's deserved.
It is worth noting, though, that at this point, Republic has more songs than on any other album by New Order, and it shows. The album can be a drag to get through, despite the fact it's only forty-seven minutes long. But then you have Avalanche, which from the offset sounds angelic, the words being Gilbert sometimes singing "faith". Morris' drumming is excellent, an endless loop which synths spin round alongside wistful keyboard notes. At the end, though, it's only a drone, like being trapped in an electronic wind tunnel, and it's amazing. Somehow, after an album mostly filled with songs that blend into each other, many hedonistic and sensual, the last song is like Elegia off of Low-life. If only New Order released an ambient album.
Republic isn't as bad as some make it out to be. Its main problem is that it sounds like Technique was made especially for Radio 1. And it sort of was; Hook himself said the album was recorded to save the Haçienda and Factory Records, though both went under either way. Republic is content with being full of club hits, even if at times it got a bit experimental - whilst it's not as good as Power was, it's not dreadful.
Unfortunately, though, this was an end for New Order, which is a shame, considering how they could have been perfect for the decade. But obviously, they did eventually get back together - and I'll discuss that album in July.
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