By the time Low-Life arrived in 1985, New Order had finally stepped out from the long shadow of Joy Division. It’s the moment where they fully embraced their identity as the quintessential dance-rock crossover act. It captures a band that was becoming increasingly comfortable in the studio – and the nightclub – balancing their moody Manchester roots with a newfound sense of pop melody and electronic experimentation.

The vibe of the album is brilliantly schizophrenic. You get these shimmering, synthetic textures and programmed beats sitting right next to Peter Hook’s iconic, melodic basslines and Bernard Sumner’s earnest, slightly fragile vocals. It’s an album that sounds like 3:00 am in a neon-lit city – equal parts lonely and euphoric. It’s much more cohesive than their earlier efforts, feeling like a proper “album” rather than just a collection of experiments.

“The perfect kiss” is the obvious crown jewel here – a sprawling, layered masterpiece of electronic pop – but “Love vigilantes” shows off their ability to write a cracking, almost country-tinged indie song. “Sub-culture” is another standout that bridges the gap between the rock club and the dance floor. Revisit it for that unique mid-80s atmosphere; it’s an album that feels incredibly stylish without ever feeling dated, reminding us why New Order remain the masters of the “sad-banger.”