Brotherhood (New Order album)

Brotherhood saw the band further exploring their mix of post-punk and electronic styles, with the track listing being conceptually divided into "disco and rock sides".[3][4] Stephen Morris stated that the album "was kind of done in a schizophrenic mood that we were trying to do one side synthesizers and one side guitars", which he retrospectively stated "didn't quite work".[5]

In a 1987 interview with Option, Morris commented that the "mad ending" to "Every Little Counts" – which sounds like a vinyl record needle skipping the groove – is similar to the ending of The Beatles' "A Day in the Life".[6] Morris said: "What we should have done is make the tape version sound like the tape getting chewed up. The CD could have the sticking sound."[6]

Influences of Richard Wagner's Prelude to Das Rheingold can be heard throughout the track "All Day Long." New Order have subsequently used the piece as a concert opener.

Professional ratings

Review scores
Source	Rating
AllMusic	[3]
The A.V. Club	A−[4]
Blender	[7]
Entertainment Weekly	A−[8]
Pitchfork	9.5/10[9]
The Rolling Stone Album Guide	[10]
Select	3/5[11]
Uncut	[12]
The Village Voice	A[13]

Reviewing Brotherhood for the Los Angeles Times, Steve Hochman wrote that New Order "makes atmospheric grooves with more finesse than any contemporary computer-rocker".[14] Robert Christgau of The Village Voice rated it a 'Pick Hit' and remarked: "The tempos are a touch less stately, the hooks a touch less subliminal. Bernard Sumner's vocals have taken on so much affect they're humane. And the joke closer softens up a skeptic like me to the pure, physically exalting sensation of the music."[13]

In a 1993 retrospective review, Q wrote that Brotherhood was too similar to Low-Life and "suffered from an absence of truly great songs, 'Bizarre Love Triangle' excepted."[15] John Bush of AllMusic was more favourable, writing that "for better and worse, this was a New Order with nothing more to prove – witness the tossed-off lyrics and giggles on 'Every Little Counts' – aside from continuing to make great music."[3] David Quantick of Uncut noted an "increased tension between the frequent beauty of the music and the band's Northern self-consciousness" and concluded: "This was New Order becoming New Order and if anyone was entitled to not be Joy Division, they certainly were."[12] The A.V. Club's Josh Modell called Brotherhood "an unsung great of the catalog that's dwarfed a bit by its massive single".[4]

All tracks are written by New Order, except where noted.

Notes

• Certain editions, including the original Factory Records CD, the 1993 London Records re-release and the 2008 Collector's Edition, feature the 12″ version of "State of the Nation" as a bonus track (although it is not listed as such). It is identical to the version found on Substance. It runs for 6:32, making the album's new total running time approximately 43:39.

Notes

• "True Faith" (Eschreamer Dub) and "Blue Monday '88" (Dub) are only incorrectly listed on the disc itself. The booklet included with all five re-issued 2008 Collector's Edition New Order Factory Records studio albums correctly identifies them.

Credits adapted from the liner notes of Brotherhood.[16]

• New Order – production
• Michael Johnson – engineering
• Peter Saville Associates – design
• Trevor Key – photography

• UK LP – Factory Records (FACT 150)
• UK Music cassette – Factory Records (FACT 150C)
• US LP – Qwest (25511-1)
• US cassette – Qwest (9 25511-4)
• Canada CD – Factory Records / PolyGram (830,527-2)
• UK CD (1993 re-release) – London Records (520,021-2)