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In the late 70s OMD were early synthesizer adopters and pop musicians with a serious avant-garde bent, who were looking to Kraftwerk and Harmonia for inspiration before most people had even got to grips with punk. This combined with a warm-hearted, Liverpudlian melodic sensibility saw them turn out four great albums, two of which (Architecture & Morality and Dazzle Ships) were touched with genius. Like other bands to emerge from the post-punk era, such as Simple Minds, they came to a perceived crossroads and elected to take the route marked Top of the Pops, not realising – and why would they? – just how much the acid house revolution was going to change the future of electronic music. And, like Simple Minds, this fateful course change was taken after their inclusion on a John Hughes movie soundtrack.
Their first studio album in 14 years, and 11th overall, starts off with New Babies: New Toys which tries to place them back at this point, given that it sounds like a slightly electro-punk take on 1986’s If You Leave, the theme song to Pretty in Pink. What follows is, to put it politely, pretty much awful. The Future, The Past, and Forever After, from its unnecessary Oxford coma onwards, is just plain unacceptable. It’s obviously supposed to be a hymn to modernism which declares that the future is unstoppable, like an arrow or speeding train "on wheels of steel". Fair enough, but despite playing their ace card (dressing Kraftwerk up in smart new clothes and sending them down the disco) they fall flat on their faces. The electronically synthesised Doppler effect of cars rushing along the autobahn alone would have sounded cheesy in 1982. This album does nothing to alter the notion that OMD have only travelled in the wrong direction since Dazzle Ships and, post Atomic Kitten, Andy McCluskey’s songwriting ability seems to have slipped down to the standard of My Lovely Horse from Father Ted.
There is one redeeming moment here, and it comes right at the end. Perhaps unsurprisingly they’re at their best when behaving like it’s 1982, performing a respectful and TOTP-friendly tribute to their German masters. The Right Side? is a genuinely lovely track and bears many replays, even if it is a little too similar to Kraftwerk’s Europe Endless from Trans-Europe Express for it to go without comment.
Like Simple Minds, it’s not too late for OMD to stride all the way back to greatness. But this album isn’t even a stumble in the right direction, and the clock, as always, is ticking.
--John DoranFind more music at the BBC This link will take you off Amazon in a new window
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Most Helpful Customer Reviews
5 of 5 people found the following review helpful:
4.0 out of 5 stars
Surprisingly very good!,
This review is from: History Of Modern (Audio CD)
Always loved OMD back in the day. In fact they were the first band I ever went and saw live . Was well into them, up to and including Dazzle Ships, I thought they were fantastic. If they'd split or died after Dazzle Ships, people would hail them as the english Kraftwerk, what a loss to music etc. As it was, they got poppier, hit paydirt in the US, and for my mind got far less interesting. I still loved the early stuff a lot, and saw them on tour couple of years ago. Got free tickets to see them at the BBC Radio 2 live at the Mermaid theatre last week, and was blown away by their and the crowd's enthusiasm. I'd listened to a few of the songs from History of Modern on line, and decided to buy it after the Mermaid gig. I am not disappointed. This is a return to the kraut-rock/electro influences of yore. A couple of patchy tunes, but that would be quibbling. Well worth getting. Excellent return to form.
30 of 35 people found the following review helpful:
5.0 out of 5 stars
WELL worth the wait!,
This review is from: History Of Modern (Audio CD)
There's been a recent resurge of electronic music in the past few years which is definitely not a bad thing, especially for someone like myself who, at a very young age, got turned onto the best of the best in the 80's...OMD. They churned out an impressive number of hits both in their original lineup and also when Andy McCluskey went solo with the name. But alas, music changes and what was once "in", got pushed out for a new phase and sadly, by the mid 90's, OMD disappeared....until now.
14 years is a long time and a lot can happen but founding members Andy McCluskey and Paul Humphreys have found a way to bridge the gap of time and produce what could arguably be called one of their best albums of their career. Offering a hybrid of new and old sounds, this gem is likely to not only please the long-standing fans but grab a whole new generation who, perhaps unknowingly, have been listening to OMD through influence in bands such as The Killers and LCD Soundsystem. Opener NEW BABIES: NEW TOYS comes rearing out of the gate with a 'take that' attitude. It's edgier than what many think or remember OMD sounding but easily fits into todays mainstream with its bombastic bass, distorted vocals and heavy, head-bopping beats. It's followed by first single IF YOU WANT IT, a song written originally by Mr. M. in his girl band Atomic Kitten era. But filled with a catchy melody and choral "aws" it works, much in thanks to the retention of his valuable vocal quality at the ripe young age of 51! HoM PART 1 and 2 are definitely OMD in their "pop hits" area and PART 1 is, in my opinion, OMD at their best. Mr. H.'s synths, earlier described as 'call and reply' play well with Mr. M.'s addicting refrain, laced with lovely harmonies. I challenge anyone to try sitting still for this one! SOMETIMES is a slower, groovy number with additional vocal samples of Jennifer John to help get across the message of despondent love, while RFWK is one of a couple Kraftwerk-ish songs but rightfully so since it's a tribute to the band and their influences on both Mr. M. and Mr. H. With touching offerings displayed in lyrics "I loved you when I found you, I loved you like a son" all draped in synthetic, almost whiny keys, it makes one wonder just where these two would be in life had they not been in the crowd at the Kraftwerk show as teens! And then there's NEW HOLY GROUND! This is a definite tear-jerker of a song. It begins with the sound of a woman's high heels hitting the ground as she paces the floor; an absolutely striking element to the song that repeatedly paints a vivid image to match the songs theme of profound self reflection and renewal. Add in deep, cello-like tones and an achingly beautiful single key melody, along with vocals that crack with emotion and you've got one of the most moving songs on the album! (Plus the fact that it was created in literally hours is just proof of the magic these two can do when put in a room together.) THE FUTURE, THE PAST, AND FOREVER AFTER is a quirky little disco ditty that screams Georgio Moroder and could definitely get a dance floor going in both a retro and a modern club. SISTER MARIE SAYS, by Mr. M.'s account, was a song shelved way back in the early days for sounding too much like Enola Gay but given new life with modern technology, it's much like the HoM's, good ol' OMD synth-pop! PULSE, ah, PULSE....yes well, to put it mildly, it stands out. It's a song that is probably the farthest from OMD than any can be and will cause many (including myself)to blush or drop the jaw because of its, shall I say 'adult' nature. It's filled with deep, seductively breathy vocals from Mr. M. with an almost equally alluring female backing track, all layered over an irresistible dance beat. What's not to like?! After that, the cd takes a slower, more 'back to the beginning' approach. GREEN is in the realm of NHG with it's achingly divine melody and lyrical content that gets matched by Mr. H.'s, captivating instrumentation that includes rippling keys and a steady pound. BONDAGE OF FATE is, in many ways, more enthralling than Green or NHG; for some reason it just mesmerizes me. Maybe it's the waltz-like rhythm, or the woman's babbling or the choral sounds...all together it's just wonderful! And THE RIGHT SIDE?, well this is another treasure and a great way to round out the album. Giving one final nod to Kraftwerk, it's plinkering keys and ambient chorals easily make the 8.17 minute song flow by. I rarely find a cd that doesn't have at least one song I don't like on it but can honestly say I like, and in more cases than not, LOVE the songs here. From a long-standing OMD fan, I am giddy with this return and think even newcomers to the world of OMD will embrace the caliber of the music on the release. A definite 5 stars from me!!!
2 of 2 people found the following review helpful:
5.0 out of 5 stars
Hats off to OMD and DD!,
By
This review is from: History Of Modern (Audio CD)
What a surprise. For many years, many groups of the 80s or post-80s claimed that their new album was a return to the 80s sound, but all of them were just sorry efforts caught in between trying to sound "modern" and retro at the same time. Not anymore. OMD came in and simply went flat out to produce an album that unmistakably recreates their synth-pop sound 100%. To me, History of Modern sounds even better than their original 80s albums because of the more advanced recording equipment they can use today. Four stars for the quality of the songs, one additional star for having the audacity - and intelligence - to go back to their 80s sound without remorse. Good music is good music.
OMD and Duran Duran went back to their original sound with their latest albums, and both of them are welcomed with open arms by the 80s' fans. I hope they have the sales to go with the rave reviews. Come on - Flock, Frankies, Fixxies, Ballet, Crisis, Twins, Wang Chung and everybody - what are you waiting for? BTW, what's Mr John Doran's favorite genre of music? Rap?
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