Back in 2011, in a public Facebook note, singer-songwriter iNCH (a.k.a Inch Chua) criticised Singaporean attitudes toward local music. iNCH even moved out of Singapore (to the US) in order to pursue her musical career. Four years later, back in Singapore, as a packed audience demonstrates their hearty approval, iNCH is moved to tears by a post-gig video filled with expressions of congratulations, love, admiration and celebration for the launch of iNCH’s new EP, Letters to Ubin.
Laneway Singapore 2016 promises to be the music festival all hip music kids need to be seen at – and this was doubly confirmed by the news that British hip rock outfit 1975 will headline the festival when it returns to our shores on 30th January.
Some respite for true pop lovers from the onslaught of the prefabricated anti-music dominating the current Billboard charts in the form of a new Squeeze album! Yes! When frontman Glenn Tilbrook was in Singapore last year, he mentioned that the band was recording a new album and here it is – Cradle to the Grave – the band’s first album of new material since 1998!
For most of its first run, Electric Light Orchestra (ELO) operated as a band. However, in effect the success of ELO was really down to one person viz. singer-songwriter-musician-producer Jeff Lynne. Thus, this album of new material — the first since 2001’s Zoom — is credited to “Jeff Lynne’s ELO” and perhaps rightly so. Though personally, ELO would have done it for me — I mean ELO fans know who is the force behind those wonderful songs.
LAMC Productions has announced that Sheffield’s Bring Me The Horizon are set to perform in Singapore on Thursday, 28 January, 2016, 8pm at SCAPE* Playspace!
Paul Weller’s new album Saturns Pattern is a revelation! Here is one of my favourite tracks, the infectious “Pick It Up” with an equally memorable music video, starring Martin Freeman (The Hobbit, Sherlock etc) as a sad bloke going through a mid-life crisis of sorts. True blue pop lovers, don’t miss this!
At a time where there are millions of causes to get behind, some pretentious music-hating moron starts a petition to ‘stop’ Phil Collins from coming out of retirement. Over 2,000 people have signed the petition and of course, the music press gleefully reports about this juicy bit of ‘news’.
The first time I heard Suasion live I fell in love with the band’s basic approach to songwriting and performing. Whilst it is true that more often than not, you can walk into a club in Singapore and hear country-inflected melodic pop-rock but typically, it would be played by a cover band. Suasion were a refreshing change – playing their well-construction originals within a popular medium that for some reason is overlooked by artists and bands here.
For me, this reflected the band’s strength of conviction – not content to merely get on the bandwagon – but to make music on their own terms. The kind of music that they wanted to make. The kind of music that they wanted to listen to themselves. Highly admirable it must be said.
Frontman Michael Intrator – a Swiss expat – possesses a honest voice that resonates with power and feeling on tracks like “Resolve”. Backed brilliantly not only instrumentally by lead guitarist Chris Bong and bassist Lyndsey Long but also on luscious three-part vocal harmonies that elevate Suasion’s music from the typical Singapore indie sound. Completed by drummer Alvin Lim, the quartet keep things simple but accomplish the task with some aplomb.
This comes across in memorably infectious tracks like “Melanie in the Morning”, “Firelight” and “Drinking on Sunshine”.
My last word? Forget about Ryan Adams’ lame attempts at covering 1989, best spend your time checking out the Suasion EP.
Suasion launches its debut EP at the Substation on 30th October 2015 (with Joie Tan).
Tickets now available from http://suasionlaunch.peatix.com/.
More information from https://www.facebook.com/events/1647020308907934/
Honestly, have never been a fan of Canuck heartland rocker Bryan Adams but on his latest album, producer Jeff Lynne (ELO) is the only reason I am recommending Get Up! And of course, Lynne’s fingerprints are all over this ode to rock ’n’ roll, even though Lynne has only one co-writing credit here – the mid-tempo 80s pop sheen of “Do What Ya Gotta Do” which smacks of Lynne’s collaborations with Tom Petty and Roger McGuinn. Ironically, the most ELO-channeling track of all – the gorgeous ballad “We Did It All” was written by Adams and songwriter partner Jim Vallance.
There’s no denying that Adams sounds invigorated by Lynne’s influence, keeping the songwriting simple, yet allowing the sophisticated arrangements to elevate the basic pop-rock material. That’s no hiding the agenda behind feel good rockers like “Go Down Rockin’” and “That’s Rock and Roll” & the years peel away with ease. Who cares whether the hipster generation will Get Up or not. That’s their problem.
And if you’d like a free CD of Get Up! (and why wouldn’t you?!), Universal Music Singapore are giving away 5 copies if you can answer this question.
Who is the producer of Bryan Adams’ Get Up!?
Send your answers to email@example.com with your full name, NRIC No., mobile number and of course, home address and a Get Up! CD is yours! First come, first served. Power of Pop’s decision on who is or isn’t a winner is final and conclusive. (For Singapore residents only)
The problem with critics in general is that quite often, a band’s commercial success may adversely impact the critics’ opinions about that band’s artistic credentials. Which is strange in itself, when you consider the immense popularity of The Beatles, for example.
But such was the case for Electric Light Orchestra (ELO) who in their heyday (1970-1986) sold over 50 millions records!
Formed initially as a side-project of 60s psych-rock outfit The Move by Bev Bevan, Roy Wood and Jeff Lynne to ‘continue where the Beatles left off” (as Wood put it) – this lineup released the project’s debut album (No Answer – which contained the hit “10538 Overture”) before Wood defected leaving Lynne to be sole creative force behind ELO.
It would take ELO six albums before becoming a force in pop music and New World Record was the LP that truly broke ELO into the pantheon of pop gods, attaining #5 in the Billboard Album Charts and platinum album sales in the USA and native UK.
Singles like “Telephone Line”, “Livin’ Thing”, “Rockaria” and “Do Ya” (originally recorded by The Move) established ELO’s signature sound – orchestral pop-rock with sophisticated arrangements and infectious melodies. However, New World Record is much more than its singles and it is arguably one of the purest pop masterpieces ever recorded, fulfilling the legacy of The Beatles and The Beach Boys, and even Roy Orbison (in the epic closer “Shangri-la”).
It’s no exaggeration to suggest that Jeff Lynne was the main man behind ELO’s success. Even though at this time, the band had seven members, Lynne was the singer, songwriter, producer, arranger and even lead guitarist! There would be no ELO without Jeff Lynne.
Yet, ELO never quite gets the credit or acclaim for the wondrous pop music they made and critics often deride both ELO and Jeff Lynne for the very thing that made them click – orchestral pop magic!
PoP visitors will no doubt be aware of my love for all things Jeff Lynne/ELO and New World Record is an excellent starting point to find out why.
Best Coast is one of those bands that critics love to hate. There’s the common accusation that the hype over the band is over singer Bethany Cosentino and the gossip surrounding her life and not the music. Trolls claim that Best Coast’s music is simple and dumb, writing the band off as any kind of musical force.
While I do agree that Best Coast’s music is simple, that in itself does not make the music dumb. To be honest, the kind of power pop parlayed by Best Coast has been bettered decades ago by The Muffs, Essex Green and Dressy Bessy but compared to what passes for modern pop in 2015, Best Coast is a breath of fresh air!
Like Vivian Girls and Cults, Best Coast owes a huge debt to the 60s girl groups, 70s power pop and 80s indie pop and there’s nothing wrong with that if one is able to crank out infectious numbers like “Feeling Ok”, “Heaven Sent” and “So Unaware”. More power to Best Coast – keep the pop coming!
An excellent sign that Singapore music is slowly (but surely) permeating the mainstream consciousness is the clutch of music events to be held in the upcoming Singapore Writers Festival, from October 30th to November 8th 2015, organised by the National Arts Council.
Kicking off is Island of Dreams, an instrumental rock concert at the Victoria Theatre on 30th October, featuring In Each Hand a Cutlass and I Am David Sparkle, two heavyweights in the local indie scene.
From epic rock bombast, the music gets all stripped down and fragile with Story Songs by Tiny Ruins. Kiwi Hollie Fullbrook returns to Singapore on 1st November at the Chamber, the Arts House.
Finally, we have Dimensions and Demons, with artists from literary and musical disciplines collaborating on works to be presented on 5th November at the Esplanade Recital Studios. Writers Dave Chua, Daren Shiau and Stephanie Ye have been rehearsing with musicians weish (.gif), Riot !n Magenta and Ferry (Giants Must Fall) for the past few months for this co-presentation with The Esplanade.
Power of Pop will be in the thick of the action with reviews and interviews but so can you. The Festival organisers have kindly offered a pair of tickets to each of the above events to lucky PoP visitors.
Now, you can only select one of these events to apply to – simply write in to firstname.lastname@example.org with a 5o-word note on why you love Power of Pop so much! (Also include your full name and NRIC No., please) Oh and let us know which event you would like to attend and voilà (!) you could be on your way. (Winning entries will be published here! Be warned!!)
First come, first served and all that jazz. The decision of Power of Pop regarding the identity of the lucky recipients shall be final & conclusive. Closing date is 27th October.
Punk trio Dirt Radicals began life as Pug Jelly and earned a reputation as Singapore favourite “pop punk ang mohs”, became Saw Loser and settled for The Dirt Radicals. Whatever. What matters is the music and in that department, The Dirt Radicals continue to deliver melodious, chirpy punk rock in spades. The Dirt Radicals are set to release their new EP “Duder.” on November 3rd, with pre-orders available now. The debut single “Your Heart” is already circulating on Lush 99.5fm. See music video below.
This October 17th, 2015 the band will be performing a free show at Hood Bar & Café at Bugis Junction, Singapore. Local heroes Caracal will be opening the show. Doors open at 6pm. For more information, log on to www.thedirtradicals.com.
Well, that’s it for S-ROCK trio Another Sunday Afternoon (left to right above: Zhiwei Xu, Caleb Lye & Kamal Yacob), they have released their final single, “No Word No Bond Row On”, a chilled out instrumental rock beauty. We caught up with frontman Caleb Lye, for the last word on Another Sunday Afternoon.
What has the band been up to since The Bookmark?
Since releasing The Bookmark (2012), we’ve been playing some shows, with the highlight probably coming when we opened for Biffy Clyro in 2014.
No Word No Bond Row On is an instrumental track. Why?
Honestly, I think we kind of ran out of interesting things to talk about, to sing about. Our music has always been primarily about telling good stories, and I guess when you run out of good stories to tell, you lose your voice. We also thought it would be cool to explore instrumentals and soundscapes. I’ve always been a fan of layering and this seemed like a good time to get into that.
Is this a new direction or just a minor detour?
I think it’s neither really. It would be cool to do something like this as part of your traditional Another Sunday Afternoon album, as a segue, to connect the rest of the tracks to each other.
What does the title signify?
This is where it gets really interesting. We asked our friend Charlie, who came up with the title for our first album (“The Uncanny Tree of Fractured Hearts: featuring the Peculiar Case of Janet Leno and other short stories”), to help us out for what could possibly end up as our last effort. She came up with this because, after listening to a demo of the song, she thought it would be cool for the title to be a palindrome (even though the song, in itself, isn’t). We’re also very lucky to have Boon, who designed the album art for “The Bookmark”, come up with an ambigram, which was really cool. So if you actually flip the album art upside down it says exactly the same thing!
What were the feelings and ideas you wanted to convey?
When we let some of our friends listen to it, a lot of them mentioned that this sounded like a perfect song to say goodbye. Maybe it’s something like this – something different (and free!) to remember us by, till we see you all again.
It’s not really goodbye to Another Sunday Afternoon, is it?
Well truth be told, I think in its current incarnation, this is sadly, probably it. We do need some time to go away, rediscover ourselves, think about what kind of music we really want to bring to the table the next time – so it’s something like a soft reset if you like. Probably play with other bands, expand our music palette, evolve and come back in the not-too-distant future. I think that’s the key word for us: evolution – because we certainly don’t want to be doing that same thing over and over again!
And there you have it – pick up your copy of “No Word No Bond Row On” from Bandcamp now, and if you have not done so before, do check out the band’s other releases as well.
Xiao Zar Bo (“Crazy Women” in the Hokkien dialect) is a bi-annual music initiative fronted by iNCH and Esther Lowless, designed to provide a platform to female singer-songwriters to showcase their own works. The rather stately environs of the Singjazz Club delivered a suitable venue for this sold out ticketed (over 80 pax) premiere event. The audience was appreciative of the efforts of the ‘crazy ladies’ throughout and there was an air of community and collaboration about the performances as performers fronted and backed each other seamlessly.
For the two headliners – iNCH and Esther Lowless – it was an opportunity to share music from upcoming releases in a safe environment. Eschewing the need for a rhythm section, relying more on backing tracks (for iNCH) and copious harmonies and stringed instruments, there was a beatific ambience about the entire proceedings. iNCH went further and shared with the crowd a sensational little secret (which shall remain so till officially announced) and new songs from her much anticipated Letters From Ubin EP. Esther herself played a couple of new songs – “Warpaint” and “Withered Oak Tree” that highlighted the cinematic prog-rock style that distinguishes her music from the rest. Watch out for the new album!
KindaKim (aka violinist Kim Eun Hyung) set out an astonishing live looper performance complemented by what would be described as commercial-alternative pop songs. Her use of a looper was illuminating – taking occasional to speed up her loops which made her songs quite distinctive in the main. Though self-deprecating about her singing, it fit her songwriting perfectly (one of the main rules of songwriting) and overall, her set was an engaging one.
Lisa Haryono opened the night with a enthralling lineup of piano-based originals that hearkened to old-school pop compositions. jazz-pop-soul numbers were thrown out effortlessly as Lisa’s gorgeous voice bounced around the walls and into our collective hearts, sending chills down spines. It’s amazing to think that Lisa is already such an accomplished musician (as a session cellist) as well as fronting one of most promising Singapore bands out there (Enec.e), and to add this other musical persona to the list was simply mind blowing. Please record these soulful gems soon, Lisa!
One of the best local gigs in recent memory left me with mixed feelings somewhat. On the one hand, I appreciated the coziness of the affair and being able to savour the wonder of some of my favourite singer-songwriters up close but on the other hand, I would have loved for 500, 1000 or even 2000 people to have witnessed this! So good! But also, the sight of iNCH’s producer Evan Low in a tight-fitting dress was enough to gain him the accolade of Xiao Zar Bo of the night! See what you missed?
… still there’s more …
The Eagles loomed huge and cast a long shadow on popular music from the mid-70s onwards with “Hotel California” being one of the most requested songs of cover bands. But for me, Eagle Don Henley’s The End of the Innocence (1989) remains one of the most important albums ever produced.
Since that time, Henley has only released one solo LP (Inside Job in 2000) before Cass County, of course. What is surprising is that Henley has gone back to the early Eagles country-rock to underpin his latest rumination on life and politics. For that reason, Cass County is probably his best work since The End of the Innocence. But just in case, you needed convincing, Henley managed to rope in a couple of stellar guest stars viz. Mick Jagger (“Bramble Rose”), Merle Haggard (“The Cost of Living”) and Dolly Parton (“When I Stop Dreaming”).
But more than that, the contribution of ex-Tom Petty & the Heartbreakers drummer Stan Lynch to the songs and production does make a significant difference.
Considering the country-folk thrust of Cass County, perhaps it is ironic that the most satisfying track here is the new single, “Take A Picture Of This” which is not country at all. Instead it is a wistful pop-rock ballad that the likes of John Lennon and Jeff Lynne (ELO) would probably have written – one that reflects on a baby boomer marriage gone sour. Thematically (if not musically), it hearkens back to one of Henley’s finest moments, “The Heart of the Matter”, and for that reason, Cass Country is one new album that will be closely treasured by yours truly.
Just when I began to despair about whether any one out there in the modern pop wasteland is making authentic pop-rock still… I discover that there are flickering embers of hope. If you know where to look.
Well, Drug Cabin viz. Nathan Thelen (ex Pretty Girls Make Graves) and Marcus Congleton (ex Ambulance LTD), probably feel the same way as I do cuz the band released TWO LPs earlier this year which demonstrate that there is potentially timeless pop-rock being produced even in 2015! The 2 albums are Yard Work and Wiggle Room and there’s not much to distinguish between the two. My guess is that duo had so much music that they needed to put it all out at the same time. But I am sure that true blue pop-rock lovers will not have any complaints about this move.
On Yard Work, songs like the mid tempo breezy “California”, the country-folky “Dogs”, the laid back syncopated “Hollywood” & the disco-rock channeling “Jesus” stake their claim on 60s/70s rock, with a shimmering pedal steel bringing it home.
On Wiggle Room, songs like the tongue-in-cheek “Steely Dad”, the earthy “Ruby”, the sophisticated “Wonderful” and the easy-going title track, sound like a continuation of Yard Work – or is it the other way round?
Fact is, at a total of 56 minutes, both albums could have been released as one monster of a 22-track instant classic and to be honest in this digital age, it does not really matter too much.
Not only that but if you add the eponymous 6-track mini-album from 2012, what you get is a bumper crop of tracks that are wondrously inspired by the classic pop-rock music of the best rock decade of all time (see Spotify playlist below). In all probability, Drug Cabin and their sterling work will go under the radar somewhat but if like me, you don’t give a shit about trends and only want to listen to great music, then Drug Cabin is the place for you!
I have been in love with The Jam (viz. Paul Weller, Bruce Foxton & Rich Buckler) for so long that sometimes I take them for granted. Yeah, you know what’s that like, right? I can still remember the exact moment I first encountered the band.
It was at the old Funan Centre Department Store sometime in 1980 and I was fishing through the record bargain bins and I found the In The City and This is the Modern World LPs on cheap sale! (Aside – that’s where I got hold of Elvis Costello & the Attractions’ Armed Forces as well)
And that was that. Truth be told, I was that enamoured with the first wave of punk, when it happened and it did not help that The Sex Pistols was banned in Singapore. But from the moment I heard “In the City”, it did not sound so much like punk as a revival of Sixties pop i.e. The Beatles, The Who, The Small Faces, The Kinks etc. So I scoured record stores to find more albums but only got hold of the then newly released Sound Affects. Only then I took an interest in finding out more about the trio in the music magazines.
And boy did I! Since much of the albums & singles were not available here, I had to mail order quite a bunch – mind you, those were the days, when bands did not necessarily release single tracks on albums and by the time, The Jam released its swan song – The Gift (1982) – I had more or less completed my collection.
In the 33 years since Weller broke up The Jam, I have been kept up to date with all the re-issues and compilations, with the Direction Reaction Creation boxset, the pick of the lot. However, this new compilation – About the Young Idea (a quote from “In The City”) – somewhat slipped under my radar.
Listening to this compilation, I must say it’s serviceable if you are a newbie and apart from an unreleased demo of “Takin’ My Love”, there’s no surprises here for diehards. Sound-wise again, nothing revealing from these particular remasters. As expected, all the singles are here (classics like “Going Underground/The Dreams of Children”, “When You’re Young”, “Strange Town”, “Town Called Malice”) and deep cuts like “English Rose”, “Away From the Numbers” and “To Be Someone”.
Like I have mentioned before, that 1997 boxset is all you need is you are an obsessed fan like me. But this compilation works if you have just begun your journey of discovery of one of the finest rock bands of all time.
A literary reference as a title. A verse melody that sounds like it should have been on the Juno soundtrack. A rather functional chorus tune that borders on being dangerously infectious. All with a charming lofi production that makes it painfully obvious where the source of inspiration comes from.
So yes, this Anti-folk/Pop-rock hybrid ditty is clearly aimed at a particular audience (misfit nerdy teens?) and the cutesy video (with Brocollini the dog!) rather seals the deal as well.
If all this is making sense, then you are going to like Mal Blum and her new album – You Look A Lot Like Me – what’s not to like about music made on its own terms?
Although English quintet Supertramp had somewhat been erroneously classified as a prog rock band – thanks mainly to the success of Crime of the Century (1974) – in fact, their style was a sophisticated blend of blues, folk and jazz pop-rock elements with an emphasis on keyboards (at which both singer-songwriters Roger Hodgson and Rick Davies were adept) and in John Helliwell (saxophone and other woodwinds), they had a secret weapon that made their sound even more distinctive. Allied to the steady work of Dougie Thomson (bass) and Bob Sienbenberg (drums), Supertramp were a force in the mid to late 70s.
Their status as one of the biggest rock bands on the planet was confirmed by the Breakfast in America LP, which would become the #1 best-selling album in 1979. The ten songs on view were brilliantly crafted to maximise the melodic impact and minimise any esoteric elements that tended to drag down some of their previous albums.
In that respect, the first half of this LP was almost perfect with five memorable songs that have stood the test of time. The rocking “Gone Hollywood”, the quirky hit “The Logical Song”, the paean of philandering “Goodbye Stranger”, the infectious Mediterranean romp “Breakfast in America” and the wanton soulful love ballad “Oh Darling”.
Add to these, the opening songs of Side Two i.e. the intense human study “Take the Long Way Home” and the prayerful “Lord, Is It Mine?” and what you get is seven of the finest music ever made in the 70s rock era.
Over 35 years later, these gems still shine through with a timelessness that will never ever fade.
Now this is what I call rock ’n’ roll! Colorway’s sophomore effort finds the trio once again burning their way through 10 tracks of 100% pure shots of classic pop-rock songwriting brilliance.
Singer-songwriter-guitarist F. Alex Johnson and the steady rhythm section of Dave Hayes (Bass/Vocals) &
J.J. O’Connell (Drums/Percussion/Vocals) have delivered the perfect antidote to those who believe that good old fashioned pop-rock music is somehow irrelevant in 2015.
If you think 5 Seconds of Summer is guitar rock, then you might want to keep sucking your pacifier – this is music for adults – where a penchant for smart lyrics & sophisticated songwriting are married with an honest application of rock instrumentation.
From the opening driving “Gen Exit” to the closing epic “Telephone”, it’s all tight as a drum without any flab whatsoever. No mean feat. Highly recommended!
What the fuck is ‘sparkle punk’? It’s probably an ironic made-up genre but that and the fact that there’s a song called “Cock” is what caught my attention.
Welcome to the world of Glasgow ‘glitter trash’ trio Breakfast MUFF. The Feels is the very anti-thesis of everything is ‘proper’ about popular music in 2015. Y’know lofi, shambolic, amateurish, three chords, low grade fuzzed guitars, disturbing lyrics, songs that never hit 3 minutes and singers who sound like they don’t give a fuck!
Musically it reminds me of edgy, post-punk guitar pop-rock of 1979-era XTC, The Slits, The Raincoats and Wire – which never hurts.
I’m just a bit concerned that The Feels might be a novelty record. I fucking hope not!
If you really must – https://www.facebook.com/BreakfastMUFF
I am so sick and tired of defending ‘classic’ pop songwriting – why should the age of a genre ever come into the assessment of good music.
Anyways, thankfully I have a musical representation of this argument in the form of Pop4’s brilliant album Summer. Comprising of Scott McPherson, KC Bowman, Kirk Adams and Andrea Perry – a power pop brain trust, for those in the know – Pop4 exploits the diverse strengths of its members to provide one of the finer pop albums of 2015.
Highlights include the droll putdown “You’re No Aimee Mann” (which Mann herself approves of, it seems!), the delightfully ELO-channelling “Einstein and Sunshine” and the warm pastoral “Beautiful”.
There’s no doubt that we need more sophisticated melodic albums like Summer – no irony, no pretension, no pastiche – I am glad to declare that this is the real deal.
Good melodies with interesting arrangements – hooks that stick in your head and convince you to listen again. This is what a lead track should sound like.
Danish band Lowly releases their debut EP Sink Way Into Me on October 30th (via Bella Union) and based on the mesmerising “Fire”, one would reasonably want to hear more.
It’s all about that memorable chorus with its singalong backing vocals and the insistent choppy piano driving its presence into your synapses. Does the trick for me!
Does life have to make sense? Does music need to feel complete? Or is it the inherent contradictions that make music the life-affirming force it can be?
Did anyone expect a new New Order album? Hooky out, Gillian back? In case you are not keeping score, Hooky (bassist Peter Hook) announced in 2007 that New Order was over and that he was leaving. Eight years later, Barney Summer and the rest of the gang (Stephen Morris, Gillian Gilbert, Phil Cunningham & Tom Chapman) has somewhat taken up the challenge to prove Hooky wrong.
And whilst the end product is a sublime dance-rock album of the kind that the original New Order are considered the pioneers of, Music Complete is not really New Order, any more than Electronic or Bad Lieutenant were New Order. The name itself is meaningless – without Hooky’s bass, this is most definitely not New Order.
However, in the final analysis, it makes no fucking difference, does it? With all the electro-pop acts vying for attention in the modern rock wasteland, the old masters have come back from the dead to show the young upstarts how it’s done.
There’s no doubting Summer’s way with a melody (and dodgy lyrics) but it is in the rhythm and the beats that Music Complete excels – big beats, techno, house, disco all mashed up into a heady mixture. “Restless”, “Tutti Frutti” and “Stray Dog” (with Iggy Pop on vocals) all rise like cream to the top but it is in the final number “Superheated” that Music Complete well and truly soars with one of the finest New Order tracks since the glory days of the 80s. “Superheated” is five minutes of sheer electro-pop bliss. Close your eyes and it’s the mid-eighties again.