Interview: Delorentos talk new album Night Becomes Light

Originally published by To read the original, please click here.

Gang of four: Delorentos’ prepare to take album four, Night Becomes Light, on the road.

ALMOST ten years into their career, Delorentos have followed up their Choice prize- winning album Little Sparks with Night Becomes Light, an album that might just be their best yet. Kieran McGuinness and Rónán Yourell sat down with us and talked about the writing and recording of the record, sharing the same producer as Hozier and what fans can expect on their upcoming tour.

Delorentos are almost ten years on the trot and now on the eve of releasing album number four. Does the process of writing and recording a record get any easier with that level of experience or is it always daunting?

Kieran McGuinness: We have our own way of doing things: we’re four songwriters who are always supporting each other, in competition with each other, which are both good and things

For our first record, it didn’t really feel that anyone was dying to hear our record; during our second record, we kinda broke up so it was a bit of a mess; by the time we made our third record, we came back and we didn’t feel like anyone was mad to hear it again.

So it does feel like a different process for us every time. On this album, we didn’t want to do the thing where you write a song in a room, play it for three months and record it; this time around, we had a bigger pool of songs and the four of us have got a bit more confident in our writing. You begin to trust each other more. When I bring in a song to the other guys, I feel that I can trust them.

Rónán Yourell: Every time does feel different. Over the years, I think you just trust and believe in each other more. If someone has a vision for a song, it’s about facilitating that vision, enabling, but also trying different things, too. Neil on this record, for example, brought a lot of technology to this record: a lot of iPad apps and the like, putting them through pedals, exploring different sounds…it’s weird and wonderful every time and, like anything else, there’s good days and bad and there’s times where you wonder “are we getting anywhere, here?” and then, suddenly, there’s a five minute breakthrough that opens up a song and takes in a different direction.

Kieran McGuinness: We were never the type of band that practices in Temple Bar Music Centre, goes out for a smoke and talks to all the other bands and and goes “How are you? Did you hear such and such got signed…”. We’ve never been part of that kind of thing; we’ve always felt that we were out there on our own. There’s a song on the record called ‘Everybody Else Gets Wet’, which I wrote on my phone. The lead- in to the song starts off a bit…weird. And I had to convince the other guys: “Trust me: this will be good”. I guess that was the way it worked for all the songs on the record. It takes a lot of trust, work and passion where you have songs ready. It always feel like the first time.

Producer Rob Kirwan has worked with bands who have quite a robust, dynamic sound, such as U2 and Depeche Mode, but also acts whose sound is more grounded and stripped down, such as Hozier, PJ Harvey and Ray LaMontagne. Was it difficult for him to centre four songwriters, brimming with ideas and how effective was he in bringing you all into a middle ground?

Rónán Yourell: Rob worked with us on Little Sparks, so what was great about working with him this time around is that we had an existing relationship with him and we’d worked up a degree of trust in working with him. We had a much larger pool of songs, this time around, so Rob was great at sifting through things, putting a shape on the record. Listening back, I definitely think that this record has much more variety than any record we’ve done, but it also feels cohesive and it feels that it connects up.

Kieran McGuinness: We do our own, internal, sifting through songs, but you still end up with a pile. One of the songs on the record never went beyond the demo that Ro had on his phone. Rob chose what he felt were the best songs. He then deconstructed those songs, with us, to make them the very best versions of those songs. On the last record we didn’t know what to expect, but on this record there was more internal discipline.

This songs definitely has much more of all of us together than any other record before; if a song wasn’t connecting with someone during the sessions, it didn’t go beyond the practice space. I had songs that I thought were strong, but they didn’t get off the ground with the guys because, maybe, they were too personal; too direct. When we settled on a final bank of songs, it was a strange thing, because on the first two albums, we had what ever songs came to us and said “these are our best 15 songs” and produced them to the nth degree. It was strange to have cut a record from such a large pool of songs

Rónán Yourell: The first couple weeks were really great fun: going into Grouse Lodge with dozens of keyboards and all sorts and experimenting with sounds. Rob has a great sensibility with feel that brings about the best in us. When you have four strong characters who can be quite forceful in their opinions, you can get in each other’s way. Rob gets great results by not making it results driven. And demystifies a lot of recording techniques. It’s all about feel and getting away from listening to a guitar part for two hours and trying it a thousand different ways with overdrive pedals.

Kieran McGuinness: A lot of the sounds from the album were live takes and there were a lot of rough sounds that just sounded great that made me wonder how we’ll do it all, live, ahead of our tour. I remember Rónán was paying guitar and hit his elbow off his guitar and it made some kind of weird, almost wah- like noise and it sounded great; so it’s a live take that is as much a part of the song as anything.

Rónán Yourell: Obviously, we really hope that we do go out and play great shows, but on record, perfection has never been what this band has always been about: it should be real and it should be about capturing something that feels real, imperfect, raw.

You mentioned Hozier: Rob produced Hozier’s record at the same time as ours and on, consecutive days, he was going in and out. He’s a really genuine guy; very gentle and I can see why it works well between Hozier and Rob: they’re both quite chilled, relaxed guys.

With the melting pot of ideas that you guys have and the range in songs and sounds that came out of the sessions, how did you sequence those songs into a cohesive record?

Kieran McGuinness: On every other record, it was a case of “These 12 songs worked, these didn’t”. We got to the position when we were sequencing and we chose from 15. Every time we added or removed a track the tone of the entire record felt really different. Take out two singles, put in two very slow songs, it’s a different record.

We get on really well; we’re like brothers. Sequencing, though, is the kind of stuff that we fight about and that causes some degree of tension. But we can league the arguments in the practice space. Right to the end, there were heated discussions about what went on the record and what didn’t. Eventually, we got it right and we separated ourselves from it. We came out of the fog of recording with perspective and, now, we’re into again because we’re rehearsing for the tour. When we’re rehearsing, everything connects more: our vocals connect more, our playing…it feels right. You hear the words more.

Rónán Yourell: We hadn’t lived with the songs as long as on the first record, so we still don’t know how some of the songs will work live, which is really exciting.

Kieran McGuinness: Some of the songs could take on a different life, live, because we still don’t know how it’s all going to sound, live. There’s a couple of songs, ‘Too Late, for example, that have a very defined, Motown feel, which you really have to work at achieving. It has to be groove based and you can’t be afraid to reach for that feel. The melodies, to us, feel like new melodies and new songs in the world. We work so hard at putting what it is we feel down on record, so hopeful when we go out and play, people who’ve heard the record will connect to that feel as much as we have.

When you get to this point, it is scary: everything up until this point is quite inward. You’re focused on the songs, the songwriting, everything that you’re all bringing to it. You then go out in the world and you have to relate all of it back to an audience. The focus goes outwards. In a band, there’s always skills that go on. But standing on a stage, delivering those songs to an audience…that’s where you find out when it works, or when it doesn’t.

Delorentos’ fourth album, Night Becomes Light, is out now on Universal Music.

Music Interview: Royal Blood’s Ben Thatcher

Support slots at Arctic Monkeys’ Finsbury Park shows, a barnstorming performance on the John Peel stage at this year’s Glastonbury, the blessing of Led Zeppelin legend Jimmy Page and one of the year’s most anticipated début albums…Royal Blood‘s rapid ascent since forming in 2012 has seen the Brighton based band take in some unforgettable experiences.

On the release of their eponymously titled début album, drummer Ben Thatcher talks candidly about the band’s speedy progress, inevitable comparisons with other rock duos and an encounter with Jimmy Page at a New York gig.

Ben Thatcher (left) of Royal Blood.

Ben Thatcher (left) of Royal Blood.


What has surprised you most about the band’s rapid ascent?

I think how quickly it’s all happened and how quickly it’s all come together from the first single to the release of the LP has taken us by surprise. One of our managers sent us a picture of us playing a gig a year ago to the day and it was hilarious just looking at how the crowd and the venues have changed for us since then in that small space of time.

Do you think the speed at which Royal Blood have progressed is due, in part, to the fact that you’re a duo; that if there were third and fourth members in the band that the process would be slower in terms of arranging other instruments for recording?

It all depends on the members of the band, I guess; their chemistry together, how they work together…there’s no quicker way of doing it, I don’t think and it happens at its own pace. If we had another two people in our band, they might well write their parts quicker than we write our parts. It all depends on the people you’re working with and the chemistry within the group.

How have you dealt with the inevitable, and often inaccurate, comparisons with other duos, such as The White Stripes, The Black Keys, The Kills, The Flat Duo Jets?

The two- piece thing is inevitable, really; it’s always going to come up. Being in a two- piece probably once seemed unusual, but it’s getting more common now, I think, for audiences when they see a two- piece band. The White Stripes are probably the most commercial two- piece band, I guess, that’s come around, so we’re always going to elicit comparisons with them. That said, we can sound bigger than a two- piece and, sonically, we sound very different to The White Stripes.

Are there any bands or records that influenced you during the recording of Royal Blood that might surprise some people?

I think that when we make a record, we don’t really get influenced by other bands, I guess; we don’t consciously decide to make something sound like something else that we’ve heard. Mike and I have just really enjoyed making music for the enjoyment that comes out of it. What comes out has this rock n’roll, blues- y kind of feel to it. We love a lot of bands, but we never try to copy what they’re doing. True,  certain bands and artists influence you, but when you’re writing and recording you’re not thinking “let’s make this sound more like ‘X’, let’s make this sound more like ‘Y’…”. So I think it’s just natural that we go to when we play music.

A big champion of Royal Blood has been Led Zeppelin legend Jimmy Page. How did you guys meet?

Jimmy Page came to a show in New York. We heard a rumour that he was in town, but we didn’t know if he would be coming to the show. We were just about to walk onstage and I remember walking past him as I was walking towards the stage. It was one of those moments that I’ll never forget: one of our absolute heroes standing in the crowd watching us. We got to chat to him afterwards and he was a lovely guy. We talked a lot about music: we grilled him about Led Zeppelin for a while! He’s a really nice guy.

Brighton’s reputation has been that of a paradise for dance music fans, but there are more and more guitar bands coming out of there. Both BIMM (Brighton Institute of Music) and The Great Escape festival have been a huge boost for music in Brighton. Is the music scene in Brighton, now, as fertile as it is in Portland, Nashville, Manchester?

I think Brighton has always been rich with variety and has always supported a variety of music in spite of the clubs, DJ’s and dance acts like Fatboy Slim that have given Brighton that strong association with dance / club music. BIMM is a massive music college where people from all around Britain travel to study music, so there’s much more diversity and subversion going on there, I think, than there would have been in the past. Bands that come out of Brighton all sound completely different, whereas places like Nashville tend to focus on one genre: Nashville, obviously, is synonymous with country, country- rock, etc. So I think Brighton’s scene is very diverse and unpredictable.

When you talk about that scale of diversity and variety, do the limitations of being in a two- piece ever strike you as being too restrictive?

It all depends on what you want to do, really. If we wanted to, we could be a two- piece for the rest of our lives and come up with loads of different things and it wouldn’t be a problem. We’d carry on writing, songs that we enjoy doing. Obviously, there are limitations to being in a two- piece, but I think those limitations can push you to be more creative: you find different ways of doing things, of being more economical and it puts you under pressure to experiment, which we really enjoy.

Royal Blood’s début album is out now on Warners Bros.

Catching Up With…Swords

Formed in 2010, Dublin three- piece Swords have elicited comparisons to everyone from Portishead to Cat Power. Ahead of their headline gig at The Button Factory on 25 July, with support from Deaf Joe and Elastic Sleep, singer Diane Anglim talks about her first experiences with musical notation, Jeff Buckley’s Grace and reveals a mild obsession with David Byrne’s white suit.

Dublin- based band Swords

Dublin- based band Swords

Originally published by Entertainment Ireland. To read the original, click here.

What’s been the highlight of your year so far?

Supporting Ham Sandwich at The Olympia Theatre. The Olympia is a really special venue for us to play.


When did you first realise you wanted a career in music?

When I was about six years- old. I remember drawing pictures of music notes and writing my name at the bottom like a composer would.


In three words, describe the five minutes before you walk on stage.

Something’s gonna happen…


How do you wind down after a gig?

I like to get outside and get some fresh air. And sometimes cigarettes.


In three words, describe the live scene in Ireland.

Full of madness.


Whose career do you envy and why?

David Byrne, because he can wear white suits and dance.


Vinyl or digital downloads?

I like both vinyl record and digital downloads.


What is your favourite record shop anywhere in the world?

When it was on Dublin’s Wicklow Street, Tower Records was deadly.


Name one rare record that you don’t own, but you want more than anything.

I don’t think it’s rare, but I don’t have Jeff Buckley’s Grace on record, yet, and I would like to own it.


Name one piece of music memorabilia that you wish you owned.

David Byrne’s white suit.


What is the one thing in your life that you couldn’t go without?



Name one record, one book and one film that everyone should hear / read / see.

Record: Metals by Feist.
Book: Dark Materials by Philip Pullman.
Film: The Princess Bride.


Name one overrated TV series and one underrated TV series.

Overrated: Two and a Half Men. Underrated: Black Books


Pick the director and lead actor for a biopic about your life.

Director: Spike Jonze. Actor: Uma Thurman.


Describe the perfect night in.

Good T.V., good people, good beer.


Describe the perfect night out.

Good music, good people, good beer.


Where did you grow up and what are the best and worst things about that place.

I grew up in Rathfarnham. The best thing about growing up in Rathfarnham was my friends. The worst thing? Having to walk to Nutgrove shopping centre every day in the summertime.


What is your biggest fear?

Evil children and evil dolls.


Who are the persons in your life without whom your life wouldn’t be the same?

My Mam and Dad.


What is the most important lesson life has taught you, so far?

Calm down and relax.


If you could give one piece of life advice it would be…

Don’t forget to calm down and relax.

Catching Up With…David Bryan from Near FM’s Pure Phase

Spinning a broad variety of genres every Tuesday night on Dublin’s Near FM (90.3 FM) from 10:30pm –  11:30pm, David Bryan’s Pure Phase is a blissful hour for avid listeners of everything from Psychedelic rock and Shoegaze to Garage rock and Krautrock; from Ry Cooder and Love to Jon Spencer Blues Explosion and Timber Timbre. I spoke to the Dublin based DJ about discovering music in his early teens, his favourite albums of 2014 and why everyone should hear The Cure’s Disintegration.

Pure Phase DJ David Bryan.

Pure Phase DJ David Bryan.

What’s been the highlight of your year so far?

Tough to say, musically. There have been a few very good albums released so far: The Afghan WhigsDo To The BeastDoug Tuttle‘s eponymously titled début; PixiesIndie CindyThe HorrorsLuminousDamon Albarn‘s Everyday Robots; Dirtmusic‘s Lion City. Album of the year, so far? It ‘s a toss-up between Gallon Drunk’s re- emergence with The Soul Of The Hour and a brilliant record from a brilliant band: Lay Llamas’ Ostro.


When did you first realise you wanted a career in music / media / radio?

I have always loved music. It struck me more so during my early teens. I had originally been listening to mainstream stuff: George Harrison, Dire Straits and the like in the 80’s. A guy I knew introduced me to The Cure and my cousin introduced me to Pixies and Sonic Youth and, from that point onwards, I was hooked.


Describe the five minutes before a gig / broadcast.

Pretty chilled, quite honestly. Once I have the first few tracks lined up and Twitter set to fire, I like to sit back and enjoy the music.


How do you wind down after a gig / broadcast?

Not a lot…


In three words, describe the live scene in Ireland.

Generally very good.

There are a good few good Irish acts currently making a dent and a good few international acts make a point of playing here.


Whose career do you envy and why?

Envy is maybe a little strong; I know it’s a cliché, but everyone is their own person. “Whispering” Bob Harris, however, had- and still has- a great career in music. I would be envious of the artists that he has met down through the years.


Vinyl or digital downloads?

I know it’s not one of your options, but I do like CD’s for their lossless quality.  So…CD’s for a proper listen, downloads for being handiest on the move.


What is your favourite record shop anywhere in the world?

I do like Tower Records in Dublin; they have a good selection of records and, particularly, a great psych collection. Rough Trade and Sister Ray in London are great. I recently found two great record stores in Rome; Transmission and Soul Food: definitely worth checking out.


Name one rare record you don’t own, but you want more than anything.

An original pressing from 1963 of ‘Surfin’ Bird’ by The Trashmen.


Name one piece of music memorabilia that you wish you owned.

Albert Bouchard’s cowbell on Blue Öyster Cult‘s ‘Don’t Fear the Reaper’.


What is the one thing in your life that you couldn’t go without?

Good music.


Name one record, one book and one film that everyone should hear / read / see.

Another tough one: there are so many!

Album: O.k., if push came to shove, I’d have to say The Cure’s Disintegration. It really is the pinnacle of The Cure’s career. Robert Smith had the “classic” lineup of the group on board and, together with co-producer David Allen, they got it so spot on. It’s bleak, it’s happy, it’s deep; very deep.

Book: I have always been amazed that, whilst a lot of adaptations of Philip K. Dick’s made it to the big screen, The Maze of Death has never been adapted for the screen. It’s Dick at his very best: part sci-fi, part existentialist (as he did so well). It is also one of his darkest works.

Movie: Well, just for fun, The MonkeesHead always brings a smile to my face. A complete Monkees farce with a heavy dose of surrealism (I’ll blame Frank Zappa for that…).


Name one overrated TV series and one underrated TV series.

I never could hack Lost. I’m not sure if one could class it as underrated but Ronnie Barker’s Porridge is so good. The interplay between characters is brilliant and the writing is so good.


Pick the director and lead actor for a biopic about your life.

Michael Bay and Roger Moore.


Describe the perfect night in.

Good tunes on the stereo, couple of beers, couple of mates to enjoy it with. I’m easy going that way.


Describe the perfect night out.

Good gig, couple of beers, couple of mates to enjoy it with. I’m easy going that way.


Where did you grow up and what are the best and worst things about that place.

I grew up in Dublin.

The best thing about Dublin: The vibrancy.

The worst thing about Dublin: The crime, particularly that of the last 20 – 25 years.


What is your biggest fear?

Missing a penalty in the World Cup Finals.


Who is the person in your life without whom your life wouldn’t be the same?

It’s impossible to answer that question. I am lucky to have had great parents and friends, not to mention the better half.


What is the most important lesson life has taught you, so far?

Enjoy it while you can.


If you could give one piece of life advice it would be…

Keep the eyes and ears open to new experiences: it’s worth trying everything at least once…


Pure Phase is broadcast every Tuesday night from 10:30pm to 11:30pm on Dublin’s Near FM (90.3 FM). Click here to listen back to previous shows.

Music interview: Peter Hook

A band ending under tragic circumstances only to be reborn and end again due to in- fighting within the band; record company collapses; financial ruin; writing and recording World Cup anthems; Blue Monday…there’s little Mancunian musician Peter Hook hasn’t experienced in music. Ahead of his appearance with his band Peter Hook & The Light at Live at Leopardstown on Thursday 10th July, Philip Cummins spoke to Hooky about playing previously unheard Joy Division songs on the road, band reunions in general, playing in a church in Ian Curtis’ hometown of Macclesfield and how Joy Division / New Order and Factory Records would have fared in the music industry under the current climate.

Peter Hook, centre stage.

Peter Hook, centre stage. Image: Facebook

Originally published by Entertainment Ireland. To read the original, please click here.

Philip Cummins: With The Light, you’ve played every Joy Division song ever recorded and you’re working on every New Order song up to ‘True Faith’. Are you a completest, naturally, and what sparked your interest in revisiting these records?

Peter Hook: Well it all started back in May 2010 when I decided to get a band together and play Unknown Pleasures live and in full as a celebration of Ian Curtis and his life and work, as it had been 30 years since his death. It really was just supposed to be the one gig but that one gig quickly became two nights and then from there it just snowballed and we have been invited to come and play all around the world. It was at that point where once I realised that people were enjoying what we were doing I just thought well why not, and since then we have gone on a journey that has seen us play Unknown Pleasures and then move on to the other records Closer, Movement, Power, Corruption & Lies… and then coming up this September we’ll play Low-Life and Brotherhood live for the first time. I guess there must be a sense of being a completist, we played every single Joy Division song there is, and now we are unearthing some really great New Order ones that have been overlooked for so long. I am really enjoying it.


PC: What previously unperformed Joy Division songs surprised you when they were first played live with The Light?

PH: There are lots of Joy Division songs that are so powerful when played live, some of which we did either never play or played very rarely. Songs like ‘From Safety To Where’, ‘Glass’, ‘The Drawback’… these are quite obscure really when you look at the Joy Division catalogue but we have brought them all back and they all sound great, and I think the audiences really appreciate hearing them.


PCYou’ve been playing these “hybrid sets” of New Order and Joy Division for some time, now, with recent sets leaning heavily on Joy Division material. Despite the differences in sound and image that audiences associate between Joy Division and New Order, how well do you think that the songs from both outfits blend together and why?

PH: The idea behind these ‘hybrid’ sets was mainly just to do it for festivals. I’m not really into just “playing a set” because to me that means that you end up straying into tribute band territory. I am much happier playing records in full as we have been doing. But festival promoters don’t really want that, they want the hits, which is understandable because at festivals not everyone is there to see us so if we play a bunch of obscure tracks I guess we could end up losing the audience. If we play a mixed set it is much more suited to festivals and I must admit I am starting to enjoy them after finding it a bit strange at first. What we tend to do is open with a few electronic New Order songs, move into the rockier ones & then from there it is quite a nice flow into the Joy Division material. It’s also been nice to be able to play some Monaco songs which we have started to do recently.


PCYou’ve moved to the centre of the stage, singing Joy Division and New Order material, much as Bernard Sumner did when Ian Curtis passed on. What have you learned from that move and has it given you a better understanding of Bernard’s transition from guitarist to singer/guitarist?

PH: At first I found the transition very scary and for quite some time I was very nervous, because I had never done anything like that before. But now we are something like 230 gigs into this and I would like to think that I am much more comfortable in that role now and I have started to enjoy it a lot more. It has certainly made me understand that it must have been difficult for Bernard too back when he made the change. I still like to hide behind my guitar though as much as possible!

Peter Hook & The Light have been performing New Order albums Movement and Power, Corruption and Lies, in full. Image: Facebook

Peter Hook & The Light have been performing New Order albums Movement and Power, Corruption and Lies, in full. Image: Facebook

PCBernard Sumner and Ian Curtis sang very differently; Sumner being a natural tenor singing in higher octaves, Curtis singing in a deep, low baritone. Has that posed challenges for you as a singer?

PH: It’s a strange one really – singing the Joy Division material is naturally easier for me because my voice is more similar to Ian’s, but then it is anything but easy because when you start to sing those songs and those amazing words there really is so much pressure because Ian was that good, sometimes it is quite overpowering. I find that there is much less pressure on myself when I am singing the New Order songs, but then they are a lot harder to sing at times, so it’s a bit of a double edged sword. I am always looking to adapt and improve and I would like to think that I do a more than capable job of singing all of it now.

PCLast year, you played a set of Joy Division songs at a Church in Ian Curtis’ home town of Macclesfield, where both Joy Division and New Order were based and practised for many years. What was it like playing those songs in that particular setting and what closure, if any, did it bring you?

PH: It was an absolutely wonderful feeling to take the music home, as it were. After 30 plus years and despite being based in Macc a lot of the time we had never performed there, so it was wonderful to do it and the Barnaby Festival who put the gig on were great with us. The setting of the Church made it even more special, also because Ian had ties to that church and there were lots of people there who knew him. It was great to play there, I think Ian would be very proud that his music is still loved and listened to all around the world but especially proud that it was played in Macclesfield.


PCNew Order and Factory Records’ financial follies are well- documented: how do you think New Order, Happy Mondays, Factory et al would have fared in current climate facing the music industry and, particularly, new young bands?

PH: I don’t think it could happen now, I really don’t. The world is a very different to place to the one we knew back then, you simply would not be able to make the same mistakes now that we did then! It was all about circumstance really and at the time the circumstances allowed for us to be able to make mistakes but recover from them, learn from them and go on to make great music. Nowadays I think it would be very different indeed.

PCRobert Plant recently slammed a Led Zeppelin reunion tour claiming that in such tours “You’re going back to the same old shit” and asserting that he wasn’t part of a “jukebox”. What were your first thoughts when you decided to go out on the road with The Light to play Joy Division / New Order tunes and do you ever wish you were back in band that created new material?

PH: I get that thrown at me a lot that I don’t make new material any more, but it simply is not true. I am always working on new material with my production partner Phil Murphy in our guise as Man Ray, we do a lot of soundtrack work & some great collaborations. While I also collaborate a lot with other artists, for example on Low Ends by NovaNova which just came out on vinyl as part of this year’s record store day. So it’s wrong to say that I am not making anything new, but yes I am aware that people would like to hear new stuff from me & the lads as The Light and that is something that we are beginning to look into. But I must admit I really enjoy playing the old stuff, I am having more fun with this tour then I have ever had before. The others in New Order would simply not play any of this material, so in a way it all feels like new stuff too even though in some cases they are very old songs.

Peter Hook & the Light will play Live at Leopardstown on Thursday 10th July