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on 11 November 2017
A gem of an album, as a long time omd fan, love it, could listen to night cafe on repeat.
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on 9 July 2013
Fabulous album. Where have they been all these years. If you are an OMD fan, buy this album, it is brilliant.
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on 15 May 2016
Top album by one of most underrated bands of all time ! They up there with the best off them, we'll done lads this a tru omd album to be proud off !!:-)
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on 25 November 2017
What a fantastic album. OMD at their very, very best. Just buy it!
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on 8 April 2013
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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on 16 May 2016
Whilst always respecting OMD's status as pioneers of electronica, a sort of English Kraftwerk, there's only one album of theirs I'd play over and over again, Sugar Tax. Until now. English Electric is both fresh and sufficiently different, yet poppy. The themes are bleak, but the humour is just under the surface: The future we were all expecting has, indeed, been cancelled..

Misses out on five stars for me by not quite sustaining the, erm, English Electric thrust throughout, e.g. track three, Nigh Café, sound like something they had left over from a much earlier album. But over all, loved it. With JM Jarre back on form, the future may be better than we were expecting.
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on 10 April 2013
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 - "Green" (originally demoed by McCluskey in the early 90s) and the enchanting "New Holy Ground", the track that came the closest to mirroring that classic OMD sound. Fast-forward 3 years and we have 12th album, "English Electric", with both McCluskey and Humphreys pulling the choral strings...

It is OMD's fourth album, "Dazzle Ships", that provides the blueprint for this lovingly crafted album, with sound tapestries interspersed throughout the assured 12-track set. "Please be Seated", the first of four sound collages, starts "English Electric", PA announcement style (with tantalising echoes of "Radio Waves" and "Introducing Radios") before the first song proper, "Metroland", begins its 7-minute-plus synthpop odyssey. Picking up where "The Right Side" left off on the previous album, it is another unashamed doffing of the cap to Kraftwerk (see "Europe Endless"). The track (much like The Human League's excellent "Night People") was cruelly edited and released as the album's first single in March this year. Third track "Night Café" maintains the momentum, with a teasing intro that evokes their first hit "Messages", with lyrics inspired by the work of American painter Edward Hopper (who had influenced the sleeve design for 1985's "Crush") and intriguingly described by Humphreys as "Souvenir meets She's Leaving".

With the previous tracks being steeped so evidently in the past, by contrast, "The Future Will Be Silent" is a more experimental affair, featuring a whispered vocal from McCluskey, robotic voices, Kraftwerk-like melodic interspersions and even a hint of dubstep, as if to emphasize that the 21st century version of OMD is much more than a nostalgia trip. "Helen of Troy", a collaboration with Greek act Fotonovella, is more traditional OMD fare, allowing former history student McCluskey to indulge the listener with a semi-sequel to OMD's classic brace of "Joan of Arc" tracks, with his paean to the mythological Greek warrior (previously immortalized in Icehouse's excellent "Trojan Blue" from 1982's "Primitive Man"). Bearing rhythmical similarities to the aforementioned "Joan of Arc", and containing the duo's trademark choral flourishes, this is classic OMD. Track six, the beautiful "Our System", continues in the same 'old school' vein; a slow building choral-heavy workout featuring samples of NASA Voyager recordings and some effective cascading drums from Mal Holmes in the coda.

While McCluskey's insistence on ostensibly using the previous album to 'clear the decks' rendered the project more OCD than OMD at times, "English Electric" benefits hugely from its compositions being conceived within a narrower timeframe, making it a far more cohesive affair. The one exception is "Kissing The Machine", a collaboration with former Kraftwerk meister Karl Bartos that was originally released under the guise of Elektric Music in 1993. Humphreys has transformed the electro ballad, giving it a more uptempo and contemporary sheen; even enlisting the services of partner Claudia Brucken to provide the spoken word vocal mid-song. While many fans have bemoaned the track's inclusion, it does fit the album's retro-modern template. And it's a great song that deserves a wider audience. Fans of Kraftwerk (and indeed this record) would also be advised to check out Karl Bartos's excellent new album, "Off The Record".

It was "Decimal", another musical mosaic that offered OMD fans their first taste of the new album earlier this year. Playing like a 21st Century "Time Zones", this curious soundbite perfectly bridges the gap between the previous track and the simply gorgeous ballad "Stay With Me", which features a rare Humphreys vocal (his first lead on an OMD album since "(Forever) Live And Die" in 1986). Another single contender.

"Dresden" (wisely chosen as the album's second single) is structurally similar to "Sister Marie Says" (itself something of a musical cousin of "Enola Gay"), and further enhances the album's classic OMD status, with its driving bass line and a monstrous synth motif that has the potential to be as ubiquitous as the one that permeates Muse's "Starlight".

Arguably the album's two strangest tracks are reserved for the climax. "Atomic Ranch", the penultimate track, boasts cacophonous sound effects and, ostensibly, a statement about modern consumerism. The ephemeral - and aptly titled - "Final Song" is further challenging. Sonically sounding like a revisit of old b-sides "Annex" and "Navigation", it features a typically abstract lyric from McCluskey, while some unexpected near-operatic female vocals add an unusual flavour to the mix.

Thirty-five years since their formation, Orchestral Manoeuvres in the Dark have crafted an album that comfortably nestles alongside the best work created by the core duo of McCluskey and Humphreys. Whilst it sometimes feels a bit clinical in its execution, this is a beautifully produced (and perfectly sequenced) set of songs, with an attention to detail lacking from previous albums. A real surprise in fact. (9/10)
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on 20 December 2015
I have to say upfront that I was never a big OMD fan even though I quite liked Enola Gay. I listen to mostly prog rock such as IQ, Genesis, Physics House Band and Public Service Broadcasting amongst others and I'm always on the lookout for something a little different. Listening to the bulk of OMD's other stuff recently, it is essentially pleasant but (to my mind) nothing special and I would not listen to these again. However, this album is an actual revelation! It's almost like overnight they have grown up into something far more mature. The production values are superb and the songs themselves are cleverly (and thoughtfully) put together with lyrics that are considered and poignant. In an interview, they stated that they worked together in the same location for this album instead of remotely - and it shows. There is nothing like being in the same room to hammer out disagreements and to obtain perfection. Track 1 isn't really a proper track, as such, but is a scene-setter intro for the rest of the album which is a really nice touch. The album proper starts with the absolutely superb Metroland. At over 7 minutes in length this song is allowed to breath and I never stop playing this track, playing it at least once a day. It is one of my favourite pop tunes of all time and the lyrics are plain clever. Give it some volume! Interestingly, my other favourite track is the final track on the album - Final Song. Usually most albums tail off after a couple or three decent tracks. This album just keeps going and finishes on a high (to me) with a strange ethereal offering, Final Song. There is something catchy about it that I can't quite put my finger on. Brilliant. To summarize, you will like this album even if you don't like OMD. Buy it!
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on 5 December 2013
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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on 17 July 2016
Great 180g pressing in nice sturdy picture sleeve. This album was very much a return to form after the slightly patchy History of Modern, and feels like the band contributed to most tracks rather than just Andy (with Paul helping with the programming/production). Shame Mal has since had to retire from the band (effectively) due to health reasons, certainly on touring, so this is great album to feature the 4 original members.

Several influences here, including Kraftwerk very heavily in the first single, but all with OMD's unique twist on things. Nice one, guys!
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