On the Shelf 101: OMD
Oct. 3rd, 2013 07:00 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
bedsitter23If push comes to shove, and I actually had to figure out hours listened and all of that, Orchestral Manoeuvers in the dark.
In those all important formative years and that epic post-modern peak of 1987, I listen to OMD:The Best of about as much as Kiss Me Kiss Me Kiss Me and Music for the Masses.
Of course, although I showed them love, I doubt they had the coolness factor of the Cure or Depeche Mode (or The Smiths or PiL or whoever), because 1) they had hit commercial mainstream success and 2) unlike these bands on the ascendant commercial and artistic journey, OMD was headed on the way down- leading to the band's "break-up" and less satisfying product.
I am making it sound worse than it was, of course. In 1993, I was at college and Virgin Records had a big presence on campus, so a copy of the McLuskey-minus-Humphries Liberator ended up in my hands as a free giveaway.
No one loves Liberator (allmusic gives it two stars out of five), but it's actually quite enjoyable for an otherwise throw-away record. It is nothing revelatory that OMD had more trouble adapting to the 90s commercially, artistically and every other way as opposed to say, bands like New Order.
Still, I feel compelled to say I still listen to OMD's singles all the time in 2013. They are timeless, amazing pieces of music. So, i was excited when the OMD duo reunited for 2010's History of Modern.
History has been kind to OMD, finally recognizing the brilliance of the band's four three classic albums; and so expectations were high.
Unfortunately, Modern wasn't very good- a collection of forgettable songs from a band that generally were good at leaving an impression. More self-parody than moving forward.
So, that may be the band's mulligan. 2013's English Electric (and is "Electric" big this year- used by both Pet Shop Boys and Richard Thompson) is their second try at reunion success- and it delivers.
At least, delivers enough. It's not the solid, hit-repeat career highlight like that other Electric (the Pet Shop Boys' one), but it does show a level of quality that should please fans.
The band mixes it's classic sound (a single called "Helen of Troy" seems like a logical sequel to "Joan of Arc" and "Maid of Orleans") with songs that take expert references from Kraftwork and OK Computer.
The masses may not take to this album, and it never reaches the level of anything on Organisation or Architecture and Morality, but it should satisfy long-time fans, and looks good for reunion album #3.
In those all important formative years and that epic post-modern peak of 1987, I listen to OMD:The Best of about as much as Kiss Me Kiss Me Kiss Me and Music for the Masses.
Of course, although I showed them love, I doubt they had the coolness factor of the Cure or Depeche Mode (or The Smiths or PiL or whoever), because 1) they had hit commercial mainstream success and 2) unlike these bands on the ascendant commercial and artistic journey, OMD was headed on the way down- leading to the band's "break-up" and less satisfying product.
I am making it sound worse than it was, of course. In 1993, I was at college and Virgin Records had a big presence on campus, so a copy of the McLuskey-minus-Humphries Liberator ended up in my hands as a free giveaway.
No one loves Liberator (allmusic gives it two stars out of five), but it's actually quite enjoyable for an otherwise throw-away record. It is nothing revelatory that OMD had more trouble adapting to the 90s commercially, artistically and every other way as opposed to say, bands like New Order.
Still, I feel compelled to say I still listen to OMD's singles all the time in 2013. They are timeless, amazing pieces of music. So, i was excited when the OMD duo reunited for 2010's History of Modern.
History has been kind to OMD, finally recognizing the brilliance of the band's four three classic albums; and so expectations were high.
Unfortunately, Modern wasn't very good- a collection of forgettable songs from a band that generally were good at leaving an impression. More self-parody than moving forward.
So, that may be the band's mulligan. 2013's English Electric (and is "Electric" big this year- used by both Pet Shop Boys and Richard Thompson) is their second try at reunion success- and it delivers.
At least, delivers enough. It's not the solid, hit-repeat career highlight like that other Electric (the Pet Shop Boys' one), but it does show a level of quality that should please fans.
The band mixes it's classic sound (a single called "Helen of Troy" seems like a logical sequel to "Joan of Arc" and "Maid of Orleans") with songs that take expert references from Kraftwork and OK Computer.
The masses may not take to this album, and it never reaches the level of anything on Organisation or Architecture and Morality, but it should satisfy long-time fans, and looks good for reunion album #3.
