Orchestral Manoeuvres In The Dark - Orchestral Manoeuvres In The Dark album flac

Orchestral Manoeuvres in the Dark is the self-titled debut album by Orchestral Manoeuvres in the Dark, released in 1980. It peaked at number 27 in the UK Albums Chart. Electricity" and "Red Frame/White Light" were low charting singles taken from the record.

Although Humphreys left the group in 1989, McCluskey made a comeback in 1991 with the UK top 5 'Sailing On The Seven Seas', and followed that up with a UK top 3 Album 'Sugar Tax' before finally calling it a day in 1996. In 2007 they toured together again featuring the classic line-up of Andy McCluskey, Paul Humphreys, Malcolm Holmes and Martin Cooper and released a live-album in 2008: 'OMD Live: Architecture & Morality & More'. September 2010 saw the release of History Of Modern featuring the original classic line-up.

Orchestral Manoeuvres in the Dark. Orchestral Manoeuvres in the Dark (OMD) are an English electronic band formed in Wirral, Merseyside in 1978. Spawned by earlier group The Id, the outfit is composed of co-founders Andy McCluskey (vocals, bass guitar) and Paul Humphreys (keyboards, vocals), along with Martin Cooper (various instruments) and Stuart Kershaw (drums); McCluskey is the only constant member

sort by album sort by song. album: "Orchestral Manoeuvres In The Dark" (1980). album: "Organisation" (1980). Enola Gay 2nd Thought VCL XI Motion And Heart Statues The Misunderstanding The More I See You Promise Stanlow. album: "Architecture & Morality" (1981)

Find the latest tracks, albums, and images from Orchestral Manoeuvres in the Dark. The group was founded in 1978 by Andy McCluskey and Paul Humphreys, after they had been involved in several bands, including The Id. Later drummer Malcolm Holmes and saxophonist Martin Cooper joined.

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OMD's first full album won as much attention for its brilliant die-cut cover - another example of Peter Saville's cutting-edge way around design - as for its music, and its music is wonderful. For all that, this is a young band, working for just about the last time with original percussionist Winston; there's both a variety and ambition present that never overreaches itself. The influences are perfectly clear throughout, but McCluskey and Humphreys would have been the last people to deny how Kraftwerk, Sparks, and other avatars of post-guitar pop touched them. Even the fairly goofy "Dancing" has a weird atmosphere at play in the metallic vocals and groaning tones. In terms of sheer immediacy, there's little doubt what the two highlights are - the re-recorded and arguably better version of "Electricity" is pure zeitgeist, a celebration of synth pop's incipient reign with fast beats and even faster singing.