Section 25
Always Now

When a talented band meets an enlightened sound genius, something unique always happens. This is the case with the trio Section 25, an English band from Blackpool, formed at a time when simple punk was ennobling itself into various forms.

The Britannia Row Studios, a place dear to Pink Floyd, are where in 1981 the precious debut "Always Now" was mixed in ten days. The band, greatly flattered by Ian Curtis, producer of the explosive single "Girls Don’t Count," embodies an original marriage between dark and post-punk in a melancholic, depressed container. The members are Larry Cassidy on bass and vocals, Vincent Cassidy on drums, and Paul Wiggin on guitar.

The Factory of Martin Hannet, therefore, wisely pays attention to this promising new reality. The moods of "Always Now," despite being many, easily come together and blend into a single message. The initial slaughter of "Friendly Fires" and the drugged dance of "Dirty Disco" stand halfway between the more unruly PIL (by coincidence, "Death Disco" comes to mind) and the amphetamine declamations of Orridge of Throbbing.

Remaining faithful to the post-punk concept, the bass is naturally the most prominent element, but from the subsequent "Loose Talks" (in line with the concept of "Movement" by New Order) and "Inside Out" (an industrial jam à la Cabaret Voltaire) the divine hand of Martin is seen. "Melt Close" and "Hit" are two other examples of sound freezing, pre-slow core, disheartened, immobile litanies, surprisingly very similar to the concept of fluxus.

There seems to be almost no emotion in the suspended sounds of the instrumental "Babies In The Barbo," while a minimal rhythm can be found in the pure punk wave of "Be Brave." And speaking of originality, the closing track "New Horizon" is introduced by a cold synth à la "Closer," just to confer a bit of disorientation, before giving way to the usual foggy, unsteady journey.

Looking at the subsequent work "From The Hip," from 1984, we can say that the Sections have always been supported by reliable producers, given the presence of Bernard Sumner. In that album, further growth is demonstrated, increasing the presence of synths (as in the case of the famous "Looking From A Hilltop") and getting closer and closer to the styles of New Order of "Power, Corruption & Lies." After this album, the adventure of Section 25 disappears, one of the many post-punk bands reborn thanks to various reissues of albums. Here it's worth lending an ear and a mind.