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English Electric Box set

4.8 out of 5 stars 162 customer reviews

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Frequently Bought Together

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Total price: £54.76
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Product details

  • Audio CD (4 April 2013)
  • Number of Discs: 4
  • Format: Box set
  • Label: Bmg
  • ASIN: B00BLIVP9K
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (162 customer reviews)
  • Amazon Bestsellers Rank: 267,282 in Music (See Top 100 in Music)

Track Listings

Disc: 1

  1. Please Remain Seated
  2. Metroland
  3. Night Café
  4. The Future Will Be Silent
  5. Helen of Troy
  6. Our System
  7. Kissing The Machine
  8. Decimal
  9. Stay With Me
  10. Dresden
  11. Atomic Ranch
  12. Final Song

Disc: 2

  1. Decimal (Animated video)
  2. Atomic Ranch (Animated video)
  3. Please Remain Seated (Animated video)
  4. Studio interview
  5. Dresden (track by track)
  6. Final Song (track by track)
  7. Kissing the Machine (track by track)
  8. Metroland (track by track)
  9. Our System (track by track)
  10. Please Remain seated (track by track)
  11. Stay with me (track by track)

Customer Reviews

4.8 out of 5 stars
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Top Customer Reviews

By Sid Nuncius #1 HALL OF FAMETOP 50 REVIEWER on 6 April 2013
Format: Audio CD
I really like this OMD album. To my ears, it doesn't sound as though they've moved on at all in the 30-odd years since Enola Gay first stood me on my ear - which is just fine by me. The synth and vocals sound remarkably similar to those on Organisation, and there is a fine mixture of tuneful and more spiky tracks.

English Electric struck me as a bit like a trip back to my twenties. Metroland is a great, straight-down-the-line electropop dance tune (with the prominent drum track sounding rather more like a Vince Clarke production) that I could have been dancing to in 1982. Helen Of Troy has echoes of Joan Of Arc. Kissing The Machine is a haunting tune featuring a breathy female voice speaking German and hinting at both Visage's Fade To Grey and The Mobiles' Drowning In Berlin...and so on. There are some intelligent and thoughtful lyrics throughout the album, too. In between the tuneful songs are some voice and effects tracks hinting at a dystopian future. As with some parts of albums of old, these are great for a listen or two, but now I've heard this album a few times I find I'm grateful that these days that I no longer have to get up and physically move the stylus in order to skip tracks.

This is OMD doing what they do best and doing it very well. If you like that then you'll like this album. An unmitigated classic? Probably not - but it's a very good album with some cracking songs on it and I'd certainly recommend it.
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Format: Audio CD
Since Andy McCluskey and Paul Humphreys announced their reformation at a fan convention in 2005, OMD have enjoyed something of a career renaissance. Reunited along with Martin Cooper and Malcolm Holmes, the classic 4-piece performed their 1981 masterpiece, "Architecture & Morality", in full for the first time on 2007's highly successful tour. With the synthpop pioneers back in vogue, and with long overdue critical acclaim for the albums created during the band's Imperial phase in the late 1970s and early 1980s, there was fresh impetus to deliver some new product, and this eventually materialised in 2010...

In truth, McCluskey had been stockpiling material since 1996's "Universal", the last of a trio of `solo' albums that McCluskey had recorded under the OMD moniker for Virgin Records. "History Of Modern" was essentially another solo work, with Humphreys committed to other projects (such as his work with partner Claudia Brucken in OneTwo). Disappointingly it was a rather unbalanced affair, with outtakes ("Sister Marie Says") nestling alongside Atomic Kitten rejects (see the rather strained "If You Want It") and a smattering of new compositions that had been written by McCluskey after his commitment to other girl acts such as The Genie Queen had lapsed. Significantly, however, Humphreys collaborated with McCluskey on the album's two best cuts - "
...Read more ›
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Format: Audio CD
This is one of the most remarkable albums I have ever heard (and I am in my 50s). I have never before known a band so thoroughly pick up the baton they dropped after their early success. After the disappointments of Junk Culture and Crush, I despaired of hearing anything decent from McCluskey & co ever again and just satisfied myself with relishing their early work. This album, although with refeshingly new material that could only be contemporary, and amazingly after 30 or so years, succeeds in being the album they SHOULD have made after, or even instead of Dazzle Ships. The way they echo their original influence in working with Kraftwerk's Karl Bartos only underlines their recovery of the unique, beautiful, and thoughtful work they created c.1980. I always considered OMD to be one of the very few truly poetic bands of the New Romantics: there was a genuine romantic ideology reminiscent of Coleridge, Keats and co about their range of reference, and that is the aesthetic this album conjures. In short, if you loved Architecture and Morality, you will love this beautiful, tuneful album, and can forget they ever erred . . . .
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Format: Audio CD Verified Purchase
At last, OMD are back to their best! With echoes of Dazzle Ships and a few quite quirky numbers, OMD are really on form. I've been playing this non-stop since purchase. This is a contender for my favourite album of 2013.
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Format: Audio CD Verified Purchase
I loved OMD in the early 80's. For me, tracks such as 'Statues' and 'Stanlow' on the Organisation album were the pinacle of OMD excellence. They were dark, brooding and atmospheric pieces of work. But I also loved the more catchy pop elements of OMD, as they were always infused with great synth sounds. I just found I got less interested in them as they became more mainstream through the mid-80's and onwards.

So it was a big surprise to me, to find this album of interest. I'd assumed that OMD were very much past their sell by date, but I'm amazed to hear that this album is a hark back to the more catchy / experimental sides of OMD that I loved back in the earl 80's, and at the same time, sounding fresh and contemporary.

It's a beautifully produced album. Good songs, good sounds, harking back to the classic sounds of OMD and the more electronic and 'Kraftwerk' influenced sounds of Messages and Enola Gay.

It's not a classic, it isn't better than those earlier albums, but it's a very welcome return to what I think OMD do best: merging catchy electro pop with atmospherics. It's a great record and they should be proud of themselves. I would be if I were them :-)
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