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OMD’s international commercial breakthrough began with Crush but exploded when “If You Leave,” a dull ballad from the Pretty in Pink soundtrack, became a Top 10 American single. (That McCluskey’s highbrow lyrical pretensions were without intellectual foundation may help explain the group’s subsequent American success.) “So in Love” and “Secret” are the obvious romantic singles, but the record has more serious moments as well: the topical “88 Seconds in Greensboro,” “Women III” (an ambiguous consideration of feminism) and “Bloc Bloc Bloc,” wherein McCluskey sings some truly stupid lyrics with only a trace of embarrassment. “Tesla Girls” employs scratch production to great effect while fixing on science as a clever lyrical base (shades of Sparks) the rhythm-heavy “Locomotion” and the more fanciful “Talking Loud and Clear” are likewise ace tracks.ĭespite its easygoing ambiance and a shortage of really memorable songs, Crush - OMD’s least stylized, most mainstream album - isn’t half-bad. Junk Culture is much stronger, pulling away further from sparkling pop while retaining smart melodies in far denser and newly dance-based styles. It does contain the striking “Genetic Engineering” (which integrates a Speak and Spell toy to make a point) and “Radio Waves,” as well as some amazing sounds and a powerful atmosphere to recommend it. The conceptual Dazzle Ships overreaches by a mile, succumbing to excessive found-tape gimmickry in lieu of adequate songwriting. An intriguing and highly inventive use of the technology. is an American condensation of the band’s first two British albums, including both catchy OMD standards, “Enola Gay” and “Electricity.” Recommended.Īrchitecture & Morality struggles with new techniques, and includes two magnificent, ethereal hit singles: “Souvenir” and “Joan of Arc.” OMD is again experimenting with sound and much of the album sounds more naturalistic than electronic. With nods to John Foxx and David Bowie, OMD overlays melodies to dramatic effect the performances are excellent. It also pays attention to ensure variation in the tunes, a problem that mars the first LP. Organisation (which originally included an excellent bonus single of early tape experiments and live tracks) introduces drummer Malcolm Holmes and ethereal synthesizer techniques that suit the depressive subject matter of “Enola Gay” and the like. Thanks to a knack for melodies and hooks, notable attractions are the catchy “Electricity” and “Messages.” Aided by Dalek I’s Andy Gill, McCluskey and Humphreys build the songs up from computer-generated rhythms, polishing the synthesizer song into a full-bodied medium. Orchestral Manoeuvres in the Dark is a demonstration of stylish electro-pop. Abandoning their formula after two albums, however, OMD proved capable of far more ambitious creations not tied to the apron strings of technology. They proved early on that electronics were capable of interacting comfortably with regular rock instruments and not chill the mood. Moving from electronic tape experiments to highly polished synthesizer pop and beyond, Liverpudlians Andy McCluskey (bass/vocals/keyboards) and synthesist Paul Humphreys (with other fulltime members, including - very significantly - a corporeal acoustic drummer) were among the most successful practitioners of electro-pop, as first demonstrated by a delightful string of singles. Messages: A Tribute to OMD (Oglio) 2001.Pretending to See the Future: A Tribute to OMD (UK Shelflife) 2000.The History of Modern (UK Blue Noise) 2010 (Bright Antenna) 2010.Live: Architecture and Morality and More (Eagle Rock Entertainment) 2008.Navigation: The OMD B-Sides (UK Virgin) 2001.
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Architecture & Morality (Virgin / Epic) 1981 (Virgin) 1994.Orchestral Manoeuvres in the Dark (UK DinDisc) 1980 (Virgin) 1987.