The End of the Brotherhood? Peter Hook's Top Five Moments

Peter Hook’s revelation that the band were no longer a going concern was not that much of a surprise, considering the fractious relationships within them that have been simmering for sometime. What did come as a surprise however was the announcement from Sumner and Morris that they would indeed continue, using the original band name.

But should they? Obviously Ian Curtis left under *ahem* slightly different circumstances, but wisdom prevailed then and a decision was made to re-group and re-brand. They were all young men, brimming with talent and ideas and energy. And, most importantly, confidence, knowing that they were on the cusp of something brilliant. Now mostly nudging 50, do they still possess that vigour, or indeed the poise, to continue making music of any merit. Musicianship is not just about the ability to make music – do they still have the self-belief to do it.

And is it over? New Order have broken and reformed repeatedly over the years, most notably after the release of Republic. There have been other times when their association has been stretched to breaking point, but this is one of the few occasions where their feuding has spilled out into the press. Usually word of their split is announced just as the next album is primed for release – never before has the state of their relationship been made so public. If the past is anything to go by, a reconciliation could well be on the cards.

But lets say Hook never returns. The question remains, can the band operate without him? His contribution to the sound of New Order can never be under-estimated, His melodic style has been often imitated but never bettered, and has added so much to the groups finest moments. Without that sound, they will be a poorer outfit. Also, as people they seem to operate better as a collective. Although the debut Electronic album, although dated, is a wonderful record, only the odd single since coming close to matching the level of New Order. The Other Two were just appalling, an album of keyboard demos with weak lyrics and weaker vocals. And if Monaco was a diet version of New Order, Revenge was the opposite, leaden and full of fat and gristle.

I hope that Hooky will put aside his differences with Sumner and Morris, but for all the right reasons. Not to settle a nasty tax bill, or to fund a holiday home, but for the sheer love of the exhilarating songs they are capable of. Not to manufacture new music, but to create something to equal the formidable body of work they leave behind.

And in an attempt to prove how important Peter Hook is to New Order, I present my top five Hooky moments:

5. Dreams Never End (from the album Movement)
It has to be included – Hook on bass, Hook on vocals in a riotous album opener. The vocals may have eventually gone to Sumner but Hooky’s growl on this song sits well against the frenetic drum patterns of Morris.

4. Age of Consent (from the album Power, Corruption, Lies)
Not so much a bass line, more a melody full of life and colour that holds the whole song together. A contender for the greatest riff of his career? I think so.

3. All the Way (from the album Technique)
If the British Museum ever wanted to put a Peter Hook bass line in a glass case, they could do no better than to choose this – an immaculate representation of that rolling, relentlessly fluid style. And if they can’t get this one, Weirdo from Brotherhood would do just as well.

2. Elegia (from the album Lowlife)
Four minutes and eight seconds in. Nothing else needs to be said.

1. The Perfect Kiss
Not the edit on Lowlife. Not the edit on Substance. For the full force Hooky, this has to be the original 12″ version, the extended ending showcasing the full talent of this incredible bass player. And in the video he even finds time to bash some crappy electric drums.