as the music itself. This is music to collapse-dance to, to keep your limbs fluid because the music is so total, so totalising. Disco pure in its essence in its spirit: music that helps you ride out whatever you’re feeling, while retaining its own distance, pop music as ambivalence. Note too the animal SFX, to quote Wiks:
“The song's complex arrangement includes a number of instruments and methods not normally used by New Order. For example, a bridge features frogs croaking melodically. The band reportedly included them because Morris loved the effect and was looking for any excuse to use it. At the end of the track, the faint bleating of a (synthesized) sheep can be heard. Sheep samples would reappear in later New Order singles "Fine Time" and "Ruined in a Day".
Frogs, sheep bleating, keeping it Biblical …
As everyone notes, so there’s no need for me to be any different the outro on this track, from about 7’40” with its increase in sonic depth, is something to recognise, to appreciate: it carries within it the essence of energy in music, as the expression of freedom, of being free. But there is so much I love about this song, it’s hard to know where to start, all of those other sounds kept distinct – the pings, the frogs absolutely. There’s something about this music that brings out the kid in me.
Some of the motivation for my writing on hip-hop, and other forms of Black American music is a desire to not go backwards (for a long time this was writing for me, with no real “audience,” prompted by my curiosity and internal cues). Writing these pieces also allowed me to keep getting educated: start with the artist, trace it back, work out ways to put the music in context. (No, there is no kink in any of this as I was once asked by a person who grew up closer to the source. Don’t forget I live in Paris, not a suburban cul-de-sac or rural idyll. There’s nothing natural).
Spending time with music you don’t know that well, music that didn’t provide the foundations for earlier periods in your life also protects you from falling into comparisons past/present, as inevitably the new falls short when compared to what has been tested. Moreover, it stops you from doing what I did when listening to this song once again, after a long break, of posing unanswerable and not very useful questions, such as where is its contemporary equivalent? These is a dead-end, I know. I have no issue with the languid, drawn-out drums, that slowed-down sibilant shimmy that is so dominant now - the genuflection in front of vibey Roy Ayers and some of the softer music of Donald Byrd - this kind of beat has its own feeling, but which music today provides an energy fix similar to “The Perfect Kiss”?
Which songs meet our need to be pulled into the velocity? So much of what you hear these days is deep on mood and introspection (or over-synthetic pop that has always been there, always will be) where is the music that helps us lose ourselves?