New Order reformed to make a comeback record. That comeback record became 2001’s Get Ready, peaking at number six in the UK album charts. The recording process was a long-awaited reunion for the estranged Peter Hook and Bernard Sumner, and the two Joy Division founders put aside their differences to enjoy a fruitful, intimate recording process together — even if drummer Stephen Morris and guitarist/keyboardist Gillian Gilbert were largely absent. According to Hook’s ‘Substance: Inside New Order’ memoir, he and Sumner enjoyed the best working relationship they’d ever had, and made a record that they were both immensely proud of.
The album opened with "Crystal" back when the band reformed after almost a decade of absence and side projects, it was obvious that something big was needed for the Manchester veterans to successfully get back on the horse and this track was exactly what the band needed: a deliriously infectious electronic-rock single that catapults the group into the gargantuan sheen of modern production. "60 Miles An Hour" was an adrenaline-fuelled, guitar-heavy romp it was confident, and it was considered one of the best of New Order's track, "Turn My Way" featured Billy Corgan who duets with Sumner, playing the part of repressed, tortured conscience for Sumner’s straight-talking Mancunian pub-goer. Corgan croons ethereally, like a ghost of partying past, as Sumner stumbles between past regrets and confused ambitions. Although firmly anchored in the New Order canon by Hook’s mastery of the bittersweet bass line, Turn My Way was one of the most unique cuts in the group’s whole catalogue, "Vicious Streak" considered one of the songs of the set, the track swayed with a simple, hypnotic combination of Kraftwerk-esque sequencer patterns and lo-fi drum machine riffs. Hook’s trademark bass swoops in with all the discipline of an acrobat: the high-fretted melody braces itself against the steel, swings up into the clouds, composes itself in mid-air limbo, before landing with grace.
Next was "Primitive Notion" considered New Order’s most apparent call to their proto-goth past since 1981’s Movement, it was a 1979 post-punk track gone modern. Sumner and Hook led the frock with aggressive string-playing. Galloping behind is a drum pattern with a subtle delay effect, always a millisecond off the melodic leads, "Slow Jam" was one of the most laddish recordings the band has ever released, the only thing separating Slow Jam from being a 00s Oasis track is a Peter Hook bass line. It’s really that close to mediocrity, "Rock The Shack" featuring Bobby Gillespie moved away from synth-pop, or post-punk, there’s was no tense mix between electronica and rock ‘n’ roll here. It sounded like a band not quite sure who they are anymore. "Someone Like You" was like the odd gem a true dance rock tune in every sense pure New Order, it had everything that fans have come to expect of the band through decades of electronic misadventures: an insistent drum pattern that shifts between the analogue and the synthesised, an ear-worm lead bass hook, and nonsensical lyrics of the 3am sleep-deprived brainstorm variety.
The final tunes "Close Range" was a cautionary warning from one to friend another, it was a surprinsingly cut exploring drug abuse, it has a sort of disco synthesisers, guitar but it lacked of certain sense, and finally "Run Wild" it was somewhat confusing, cause Bernard Sumner delivered on this by attempting to write a New Order folk song.
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