think it would be fair game to say that New Order was the best band of the nineteen eighties, and, in some circles, one of the best bands of the post-punk era. I mean, it’s really all about preference — no one can tell you who’s better than The Smiths, REM, Public Image Ltd., or Joy Division but yourself, right? Especially that last one there. There’s always gonna be that sharp divide — mournful pre-goth dance music or cornball synth symphonies; shit, take your pick.


The most depressing band of the late nineteen seventies gave birth to one of the most uplifting bands in pop music after its lead singer committed suicide. Most of us probably have Closer, and a lot of us probably have Substance. Because that’s where the difference between New Order and Joy Division lies — the Ian Curtis-fronted ensemble preferred to create dark, thickly layered ensemble albums, while the one fronted by Bernard Sumner (the man who wrote "I know you know you believe in a land of love") wrote some of the best singles of all time, and really, which are you going to enjoy more on a daily basis?


But I don’t know about International, the latest greatest-hits disc from New Order (after the genre classic Substance, and the incredibly useless half-"94 remix" disc (The Best Of) New Order, and one or two more, I think). Billed as a "greatest hits compilation," it doesn’t even really do that — if it’s trying to go just for the big singles, why is there no "Temptation," the obvious popular pinnacle moment for New Order (and, for that matter, band favorite)? And you’re trying to tell me there’s no "World In Motion," a number five US single that had a real live rapper? Nonetheless, it’s kind of an odd bunch — New Order’s version of Joy Division’s "Ceremony," with the crisp keyboard/drum/bass attack, didn’t exactly set the charts on fire, unlike the UK number seven "Subculture," a dark, brooding electronic stomp that recalled the band’s earliest singles.


Overall, it seems as though very little thought was given to this record, with fourteen of the band’s singles in chronological order, starting with "Ceremony," and ending with the New Order-wannabe "Here To Stay," produced by the Chemical Brothers (who did a hell of a job on the producing decks, throwing on a bunch of computer-foghorns and Barney reverbs — nice job, boys). Oh well. You know what, the band deserves to have a break, I mean, they’ve put out two records in the past ten years, couldn’t be bothered, you know the sort.


But then, I really don’t see any reason to buy this, instead of, say, Substance, which has all of this, and then some. There is the version of "Ceremony," after the short-lived stunt as "New Division," with Gillian Gilbert freshly added, and instrumentation crisp as ever. Shame about Sumner’s nervous vocals though on his very first single as lead single, which ultimately mar the Joy Division-like presence — so, I mean, that’s a reason to get this record, right? Even though the only major thing that makes this disc stand out from the others is that there are selected radio edits, you can still get all the juicy numbers on Substance — the birth of dance music, the most important single of the last twenty-five years, and simply the most amazing juxtaposition of vibrant rhythm and monotone vocals I can think of, "Blue Monday," the exact same 12" version, is there. So is original version of "Bizarre Love Triangle," not the "Shep Pettibone Radio Mix," which adds some cheesy chorus snippets at the beginning, and leaves the waves of synth lilts out to dry — but you’ve heard the track already! It was in a fucking Molson Blue commercial, come on! There’s even those goofy experiments in hip-hop with that totally hot Arthur Baker, like "Confusion," and, somehow, a beautiful signature synth drone over rock ‘em-sock ‘em guitars in "Thieves Like Us," completely stealing the drum beat to "Billie Jean." And, of course, there’s the truly vibrant "The Perfect Kiss," the most discoed-out disco song New Order has ever done about "playing with my pleasure zone."


Then, there’s the duds, which, on a disc of greatest hits, really shouldn’t be here. The "I’m gonna rock dude!" vigor of "Shell Shock" just sounds silly between "Triangle," and one of the reasons to get this disc instead of Substance, "True Faith," the best Pet Shop Boys rip ever that comes to mind, and the perfect showcase of Sumner’s guitar-through-Jello guitarwork with some excellently placed solos. (Oh man, I could write an entire other review about the greatness of this single, a song that makes you forget you’re singing as loud as you can to the chopped up brilliance of "you took my time and you took my money, now I feel you feel you’ve left me standing in a world that’s so demanding!"; features a brilliantly executed, yet simple bass line that was sampled by the Bloodhound Gang; has a music video that both me and my eight-year-old brother love with breakdancing, boxing robots; and the shiniest production this band has ever used.) "Round & Round" isn’t the greatest thing New Order has ever done, a sometimes-I-want-to-be-house, sometimes-I-want-to-sound-like-"Hot Cross Buns" disco experiment, but is ultimately redeemed by a spiraling drum machine climax. "Touched By The Hand Of God" is pretty unnecessary — "Ruined In A Day" does the bass stomp thing a little better, and, surprisingly, isn’t here.


There’s also the "later period" of New Order, where they start bringing back the guitar, which is on this disc, and not on, say, Substance or (The Best Of). "Regret" and its cheerful shimmy sit comfortably next to the band’s first single after a nearly ten year break, "Crystal," which, fortunately, cuts out that "Lose Yourself"-style keyboard bullcrap at the beginning found on the album version. The shuffling guitars and the bass solos pushed way up front make this song almost a return in form to a time and age twenty years ago from its 2001 release, where keyboards were sparse, and the lyrics didn’t completely suck.


Really, why is this band putting this out now? Are they trying to reach their "newer" fans through their adamant no-touring rule and lack of current radio support? Trying to talk to those English thirteen-year-old girls who saw 24 Hour Party People ‘cause Steve Coogan is in it (there’s a reason this disc won’t be released in the US)? Whatever. Get Power Corruption & Lies (with the brilliant jangle of "Age Of Consent," and the hollow synths over the bitter lyrics of "Your Silent Face"), Low-life, Substance, and maybe Get Ready instead. You’ll be happy. I promise.