the toppermost of 2013

Hello, my friends. Yes, I have returned from the wilderness. Actually, I didn't go anywhere. A series of business plans, musical endeavors, and odd back issues caused me to be blogless for a while. Now, I'm back, back, BACK!

Let's kick off this short entry with a list of my ten, favorite longplayers of 2013. Hopefully, at some point, I will be able to go into more detail about each one. I promise to try to post as much as possible without another hiatus. For the time being, let's just look at my top picks. Drum roll, please!

David Bowie - "The Next Day"
Disclosure - "Settle"
Agnetha Fältskog - "A"
Goldfrapp - "Tales Of Us"
Alison Moyet - "The Minutes"
Orchestral Manoeuvres In The Dark - "English Electric"
Pet Shop Boys - "Electric"
Prefab Sprout - "Crimson/Red"
ShyBoy - "Water On Mars"
Suede - "Bloodsports"

There you have it. Discuss amongst yourselves. There will be a quiz.

night manoeuvres

This week, Orchestral Manoeuvres In The Dark release "Night Café", the third single from "English Electric", their current longplayer. And they've added another animated video to their arsenal of vignettes which have been developed for select tracks from the album.

This time, they've opted for something a little tongue in cheek with a references to Edward Hopper's paintings such as "Early Sunday Morning", "Automat" and the iconic "Nighthawks". A somewhat humorous thread of violence, sex and tragedy features throughout.



Andy McCluskey explains the inspiration behind the video. "I was in New York for the first time in 20 years. I was feeling melancholy. It was -9 degrees, it was dark and I was on a street corner looking into an almost empty restaurant. How could I not be reminded of Edward Hopper's paintings?"

And OMD know what their fans want. Not only does the CD single include several remixes of "Night Café", it also collects many of the non-album b-sides from previous singles and features a brand new track, "Kill Me".

While the promotion cycle for previous single, "Dresden", has been completed, you can now download the remix of it which I produced for the band. I'm making it available for a limited time. It was a thrill to be asked to reswizzle the track. As a fan from the beginning, it is a career highlight for me.

Orchestral Manoeuvres In The Dark - Dresden (Vinny Vero & Steve Migliore Remix) by vinnyvero

electric engineering

"Dresden" is the second single to be plucked from "English Electric", the twelfth longplayer from Orchestral Manoeuvres In The Dark.

The song is classic OMD with shades of "Enola Gay" well represented by Andy McCluskey's driving bassline and Paul Humphrey's sparkling synth melody.

The lads even had time to lens a beautiful, brightly colored video for the track which starts out with a short James Bond reference and follows a couple as they fall in and out of love in the space of a three minute pop song. Something tells me this little ditty was inspired by Paul's recent divorce.



Clearly, one of many highlights from their current elpee which is chock full of amazing songs and quirky sounds. The album contains all the best bits of OMD distilled into one album.

And as luck would have it, I was commissioned by the label to reswizzle the single. Have a listen and boogie around your handbag.

metropolis on top of us

OMD have just unleashed the official video for "Metroland", the first single plucked from their forthcoming longplayer "English Electric". It's another beautifully animated clip which, like the previous one for "Atomic Ranch", seems to honor or, perhaps, vilify life in suburbia. Let's take a peek.



The digital bundle of "Metroland" features the full length version alongside a radio edit, four remixes and a non-album b-side. More bang for your buck! The single hits the "shops" on March 25. The tracklisting includes the following:

1. Metroland
2. The Great White Silence
3. Metroland (Radio Edit)
4. Metroland (Manhattan Clique Remix)
5. Metroland (Appropriately remixed by Metroland)
6. Metroland (Jonteknik Remix)
7. Metroland (Roger Erickson Remix)

metro retro

"Metroland" is the lead single from Orchestral Manoeuvres In The Dark's forthcoming longplayer, "English Electric". Released as a 12" single, the full length, seven minute album version will feature on the a-side, while the b-side will be non-album track "The Great White Silence".



Unfortunately, the 12 inch single, released on March 25, will be the only physical configuration made available. While it would be nice to have a vinyl collectible, I prefer to have a CD single. Digital downloads, although convenient, are not satisfying to a collector. A CD single would maintain the collectibility and still keep things in the realm of zeros and ones. Not sure why artists and labels have been so quick do distance themselves from the dominant physical format.

robot ranch

"English Electric", OMD's forthcoming longplayer, is shaping up to be a quirky affair. After the cacophony of voice commands that make up the basis of "Decimal", which was featured as the first taster from the elpee, I expected a big, melodic, electronic number would be the next thing we heard. I was very wrong.

Instead, Andy and Paul just dropped some serious science on us with the bleak, robotic wishlist of "Atomic Ranch". Check out the retro 50s themed vid clip below.



Seriously. I think their new album is likely to be "Dazzle Ships" on crack.

electric aesthetic

Today, OMD unveiled the eye catching cover art to their forthcoming album "English Electric". Peter Saville, legendary Factory design guru, has stroked a few electronic brushes to come up with another striking visual that reflects on the past and points to the future. It's sleek, Modernist and yet, fittingly retro. Recently, OMD memeber Andy McCluskey revealed that "English Electric" is best described as reductive (nods to Madonna) as possible while still maintaining a current sound and aesthetic. So too, does Mr. Saville's cover art reflect that. Perhaps half jokingly, Andy has said the he feels it is appropriate that the sleeve of their new longplayer is a contemporary distillation of traditional hazard signals. "English Electric" will hit the "shops" on April 8. It will be available in several formats including a standard CD in a jewel case (very retro!), deluxe edition CD with a bonus DVD, heavy weight vinyl LP in a die cut sleeve (even MORE retro!) and a massive, tin box set. While the deluxe edition will feature a studio interview, three Henning M. Lederer animated videos and unseen tour photos, the vinyl version will also include the standard album in a cardboard sleeve neatly tucked into the elpee packaging. I'm splashing my cash on the box set which will include an exclusive 7" single featuring an unreleased b-side, a sixteen page lyric booklet, the standard CD, DVD, a CD of demos, three artwork prints and a photo of Andy and Paul. If you pre-order the box set from their website, as I have today, you will also receive two enamel badges. Triple retro points! They are sure to find a happy home on my demin jacket.

British electric foundation

The mighty Orchestral Manoeuvres In The Dark are about to unleash "English Electric", their twelfth studio longplayer and the follow up to "History Of Modern".

The album will be hit the "shops" on April 8 and appear in several configurations including a standard CD, deluxe edition set featuring a CD and DVD, heavyweight vinyl LP, fancy collector's tin boxset and digitial download. It's tough to keep track of all these things. So many variations. Collect them all!

The tracklisting for "English Electric" includes the following twelve tracks.

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

The first single will be "Metroland" which will be available on March 25 from all fine, digital retailers.

In order to set the tone for the new elpee, Andy and Paul have created a video for "Decimal", the eighth track on the album.



Holy sequential circuits! A cacophony of automated voices. For a moment, I thought I was on hold with my insurance company. Definitely something that hearkens back to their "Dazzle Ship" days. I'm very much looking forward to the forthcoming album and subsequent tour. Set phasers on stun!

modern art

Orchestral Manoeuvres In The Dark has revealed the tracklisting for "History Of Modern (Part I)", the third single to be delicately plucked from the retro electro duo's current longplayer.

In a gloriously bold and quite right-minded move, the limited edition, twelve track digipak CD single will not only feature a clutch of fine remixes of the track, it will also include ALL of the b-sides which have appeared across the vinyl formats of the previous two singles, "Sister Marie Says" and "If You Want It".

As a bonus, Andy and Paul have slapped on their cover of "VCR" which was originally recorded by The xx. It's a stellar single package that shows OMD are listening to their fervently devoted fanbase. Huzzah and a champagne clink!

The following is the full, official and complete tracklisting for "History Of Modern (Part I)".

1. History Of Modern (part I)
2. History Of Modern (part II)
3. History Of Modern (part III & IV)
4. History Of Modern (part I) (Krystal Klear Remix)
5. History Of Modern (part I) (Roger Erickson Remix
6. History Of Modern (part I) (Selebrities Remix)
7. History Of Modern (part I) (OMD's Extended Remix)
8. History Of Modern (part I) (Remix Radio Edit)
9. VCR
10. The Grand Deception
11. Idea 1
12. Alone

OMD will crash upon US shores in March. We'll be visiting Andy and Paul backstage before the NYC show which has been moved from Webster Hall to Terminal 5 in order to accommodate a larger, loving audience.

modern dance

I'm very impressed with the promotional campaign behind "History Of Modern", the latest longplayer from Orchestral Manoeuvres In The Dark.

Much like Bryan Ferry's current album, "Olympia", the long promotional tail has settled in across many months during a time when most acts can barely squeeze out a month of activity around the release of an elpee.

Paul and Andy are about to embark on another tour. This time, US shows are on the cards. And they are about to release the title track as the third single from "History Of Modern".

To mark the release of the next single, they will be issuing the title track as a limited edition collector's digipack CD and 10" vinyl.

The CD will include all the b-sides including their cover of "VCR" which was originally recorded by The xx. Plus, it will include three remixes of "History Of Modern (Part I)", an extended remix produced by OMD, and the newly mixed radio version. That's twelve tracks in total. A bumper crop of goodies for fans!

The 10" will include previous b-side, "The Grand Deception", OMD's extended mix of the a-side and '"VCR". And for all those who want to download the full bundle, it will be available from all fine online "shops".

To get your mojo going, here is an exclusive preview of the remix of "History Of Modern (Part I)" by New York sensations, Selebrities.

ten for 2010

As another year draws to a close, so many of us in the blogosphere must hunker down and review our faves raves from the previous twelve months. Getting stuck in the great Boxing Day blizzard was the best springboard from me to begin the simultaneously arduous and thrilling task of completing my list. Thankfully, 2010 turned out to be a banner year for music. One of the best on record if I recall correctly.

But first, a look forward. Which longplayers am I anticipating in 2011? Hue And Cry, The Human League, Duran Duran, The Feeling and Penguin Prison. I know Duran just released "All You Need To Know". But the iTunes configuration isn't the whole enchilada. The full twelve track experience will be issued in physical form in February. So, I'm gonna wait to review it. It's already one of my most played elpees of this year! Sure to be a top contender in the next.

And will someone PLEASE tell me where the new albums from Blondie and Sophie Ellis-Bextor have gone? Once imminent, they've slipped off the map. Can't bode well for either of them.

Without further faffing about, here are my ten favorite albums of the year listed in alphabetical order.

Marc Almond - "Varieté"

Taking on the dual roles of showman and troubadour for "Varieté", Marc Almond showed he could deliver his own, self-penned material with as much style, quality and panache as the covers he performs so exceptionally well. All of this during his rehabilitation from a near fatal motorcycle accident a few years ago.

From the Russian strains of "Najinsky Heart" to the gypsy peasantry of "Bread And Circus", the piano torch of "Lavender", the swinging 60s London glam of the title track, the entire longplayer hangs together thematically, lyrically and musically in a way that most artists can only dream of at any point in their career.

Even the limited edition version of the album is an embarrassment of riches for Mr. Almond as he presents another half dozen or so songs which are presented in a stripped back, smoking jacket, beat club production. Every track on "Varieté" is vintage Marc Almond, one of the UK's musical treasures.

The Divine Comedy - "Bang Goes The Neighborhood"

Neil Hannon, in the guise of The Divine Comedy, returned with a... bang! Natch.

Still waving the flag for intelligently crafted songs with nods toward classic British pop of the 60s and 70s, TDC returned in grand style. Neil still kept the orchestral flourishes in tact, but delivered "Bang" with a slightly more low-fi approach. From the Blur-like "At The Indie Disco" to the Continental flavor of "Neapolitan Girl", the album fits in perfectly with previous TDC masterworks without ever sounding like a retread. One word... Bravo!

Bryan Ferry - "Olympia"

Ten years on from Bryan Ferry's last longplayer of original material, "Olympia" had a lot to live up to. Sure, it has many of the trademark soundscapes he's been known for. There are the languid electronics, the dream guitars, the slurry delivery of someone intoxicated by love and other musings. All of it is present. But there's a rugged undercarriage to the songs which seems to

"Olympia" is champagne and gelato. A swirling mixture of style with a soupcon of danger lurking around the corner. A stunningly beautiful goddess flashing a sinister, knowing smile encouraging you to succumb to the layers of sound.

Mr. Ferry has lost none of his ability to seduce and beguile. May "Olympia" be the next of many nexts.

Goldfrapp - "Head First"

Zippy synths. Breathy, insistent vocals. Pulsing beats. Goldfrapp returned from the pastoral excursion of "Seventh Tree", itself a work of beauty, with "Head First", an album that should've scaled the dizzy heights of the charts.

Urgent and sexy. The opening synth triptych - the high octane "Rocket", the slightly ethereal "Believer", and the anthemic "Alive" - set up the album nicely. All nine tracks are dotted with some unusual, early 80s influences including "Xanadu" and Kim Carnes, as well as the obvious ones like OMD and Kraftwerk, without ever sounding retro.

But it's more than a dance album. There's a lot of deep emotion running through its synthy veins which gives "Head First" a lot of heart and plenty of warmth. Plus it has a penis on the front cover. Look closely. Trying to find it is part of the fun.

"Head First" never left my playlist all year. Let's keep the fire burning for Alison and Will in the hopes they come up with the goods on their next, full length, studio effort. Perhaps it won't follow too long after their forthcoming greatest hits collection which is scheduled to drop later this spring.

Hurts - "Happiness"

Grand, eloquent, elegiac and moody . Hurts live an a sophisticated pop universe. Equal parts Depeche Mode and Pet Shop Boys, yet sounding like nothing else in the charts.

Unfortunately, Theo and Adam haven't lit the world alight with their debut longplayer. But those of us that savor their kind of magnificent melancholy and well written, melodic vignettes know they have put a lot of work into making the album special.

The album became a bit of event, which continues the DM and PSB comparisons as it has become both bands' calling card everytime they release one of their always anticipated longplayers. My only (minor) complaint is that the elpee lacks in the uptempo tune department.

"Better Than Love" is a driving, gothic number with shades of early New Order and bits of Sisters Of Mercy woven throughout. And that's the extent of anything that pushes the BPMs into the upper reaches. Strangely, they ditched the brooding, captivating title track, a and relegated it to a bonus track status on very few digital portals.

Also, the singles could have benefited from a different release sequence. Instead of launching straight out of the box with the magnificent and moving "Wonderful Life", they chose "Better Than Love" which would have performed better had it followed the clearly defined hit.

Overall, the album is lovely. Don't wait too long to follow it up with something breathtakingly beautiful, lads.

Kylie Minogue - "Aphrodite"

Everyone's favorite, Aussie pop rocket delivered another sparkling album. This time, she gave her fans what they wanted - an elpee of full on, straight ahead pop.

It's an album that burst forth with the euphoric energy that her fans loved on "Fever" and wanted her to capture again after the spiky electronics of "X". Nearly every track has a hands in the air moment whether it's the gorgeous strains of "All The Lovers", the pulsing, singleworthy "Put Your Hands Up (If You Feel Love)", the lovely Keane written "Everything Is Beautiful" or the mighty drumline excitement of the title track. Singles for days.

Unfortunately, in this era of lowest common denominator, identi-kit R&B dominating the charts, Kylie's brand of top shelf pop seems a bit out of step. Therefore, third single, "Better Than Today", fell short of the top 30 even with all the promotional stops pulled out in full force.

It clearly underscores the damage a wrong single choice can trip up an otherwise flawless pop longplayer. Surely, the rumored deluxe edition is right around the corner as Kylie ramps up for her forthcoming world tour. I'll be there. Will you?

Orchestral Manoeuvres In The Dark - "History Of Modern"

It is the year of the synth. And who better to make their return than OMD? Andy McCluskey and Paul Humphries reunited the original four piece and decided to embrace their origins.

After testing the waters during a reunion tour for their 30th anniversary and a celebration of their seminal longplayer, "Architecture And Morality", Paul and Andy realized there was a lot of life left in the old mare. They dug out their synths, hashed out a dozen new songs or so and set about capturing the excitement of their debut recordings. At the same time, their return made it very clear where current faves like The xx owe their debt of gratitude.

The lyrical bite of distorted opener, "New Babies: New Toys" lays out their manifesto with a succinct "fuck off" delivered to the impostors and detractors. OMD are doing what feels best.

Anthemic first and second singles, "If You Want It" and "Sister Marie Says", respectively, show their affinity for a finely tuned pop song. They revisit every aspect of their recorded work without ever sounding like they are trading on past glories. The strength is in the clean production which supports the melodic strength of every tune on this magnificent return to glory.

All the orchestral samples and choral pads are in tact from throughout their esteemed career. The synths sparkle, the effusive melodies twinkling like a million stars until they burst into a shower of fireworks across the pristine production. Lovely.

Robyn - "Body Talk"

For nearly a year, Robyn has been a whirling dervish. A Swedish dynamo!

When she revealed her plan of releasing three albums in 2010, many scoffed at the idea. How could she come up with the goods three times?

Firstly, she kept each release in the "Body Talk" trilogy trimmed down to about eight tracks with the third installment featuring the best of the first two plus five new tracks.

It may have sounded unorthodox first, but in this new frontier of wireless trading of zeros and ones, it seems to have worked. It also helped that she promoted each effort with the vitality and excitement of an artist in her prime. She embraced every opportunity to get the word out and incorporated eye popping visuals into every part of the media mix.

Standout cuts, "Dancing On My Own", "Hang With Me" and "Indestructible" are a clutch of the finest, tear stained dancefloor epics this side of the Stockholm archipelago. But Robyn proves she has a sense of humor inside her arctic heart. "Fembot", the Snoop Dogg assisted "U Should Know Better" and the expletive ridden "Don't Fucking Tell Me What To Do" are the jammy jams with a wink and smirk to let her fanbase know she can party smartly with the best of the current R&B set. And who doesn't love to initiate slut mode at least once a day?

Scissor Sisters - "Night Work"

Sleaze is the word! Jake Shears and co. whipped up a frenzy. "Night Work", their difficult third longplayer, is a deep n' greasy blowjob in an amyl nitrate filled backroom in a backstreet leather bar in Berlin.

The Trevor Horn via FGTH inspired "Invisible Light", complete with Bee Gees falsettos and thunderous percussion may have set the tone, but a few surprises like the anthemic "Fire With Fire" sounded more like The Killers. "Any Which Way" is incendiary funk with a sexy, slippery backbone and more typical of ver Scissters previous work. "Running Out" and "Night Life" sound like they bastard child of Devo and The Cult. All meant with love, of course.

"Night Work" is the sound of a group trying to break out of the corner they might have painted themselves into with their first two albums. Equal measures of frivolity and anxiety may have built them to survive or burnt them out completely. We'll know after their mammoth world tour wraps up this year. Catch them while you can!

Tracey Thorn - "Love And Its Opposite"

Tracey Thorn is one of Britain's most gifted songwriters. Every word that falls from her mouth seems to carry massive weight despite the simplicity and directness of her writing.

"Love And Its Opposite", the follow-up to 2007's more rhythmic driven "Out Of The Woods", explores mid-life in all its glory and disappointment. This is particularly apparent on poignant tracks like "Oh, The Divorces" and "Singles Bar" - two locations many are surprised to find themselves when they've crossed the great divide into the second half of their planned obsolescence.

On Twitter, Tracey has a spiky sense of wit delivered with a dash of self deprecation. Much of it is her keen attention to detail and the gift of acute observation cloaked in a laugh. And that's where much of the lyrical content of "Love And Its Opposite" resides. With every tweet, you can imagine Tracey in her kitchen chuckling to herself in deep, Mutley tones at some of her wry commentary which touches on everything from gardening to "X Factor". Essential twitteratum.

Hardly a folk album, Tracey's third solo elpee showcases her as one of Britain's quintessential singer/songwriters. Everything in the writing, arrangements and production is never pushed or rushed. Its quiet elegance, urgent beauty and balance shows Tracey at the height of her lyrical prowess. Stripped of the thump of the dancefloor, "Love And Its Opposite" is a more direct route to the head and the heart which allows for a greater impact on the listener.

Highlights include the haunting "Kentish Town", the yearning "Why Does The Wind?", the Squeeze-ly "Hormones" and the ethereal glory of "Swimming".

And that sums up my musical excursion through the previous 52 weeks. For those keeping track, you can find my ten favorite longplayers of 2009 and 2008 by clicking here. Bring on the sound of 2011!

retro nuevo electronica tributata

The end of the year always throws up a few little surprises. Foreshadowing of the year to follow.

Orchestral Manoeuvres In The Dark will continue their rise from the ashes with the release of the third single from their current longplayer, "History Of Modern". "History Of Modern (Part I)" will carry the torch for the elpee as Paul Humphries and Andy McCluskey continue to tour Europe and make their first visit to the US for promotional duties.

Recently, a rough mix of their cover of "VCR" - originally recorded by flavor of the moment and media darlings, The xx - made its way to the interwebs. Let's take a listen.



Nicely done! Not too much different from the original. That makes sense since anyone with ears can hear OMD's influence on The xx. It even sounds a bit like "Heroes" by David Bowie.

Let's hope they make the wise decision to add a little fairy dust to this and put the final mix of it on the b-side of the CD single and digital download of "History Of Modern (Part I)". In fact, how about adding parts III and IV to it, as well, lads? Right now, those tracks are just sitting on the flipside of the 7" single of their most recent single, "Sister Marie Says". You can pay me in cash for that little bit of marketing genius. Large notes, please. Thanks.

electro stigmata

The promotional campaign for "History Of Modern" continues unabated with the release of second single, "Sister Marie Says". Orchestral Manoeuvres In The Dark have lensed a typically meaningful video with the requisite religious imagery associated with the song.



It appears Andy and Paul opted out of appearing in this one. Surely, they could have shot a simple performance in a schoolyard and cut it into various parts of the vid. Admittedly, I am a child of the original age of music video. Pardon me, if I'm a bit of a purist. Forgive me, if I go astray.

synths and sin

Orchestral Manoeuvres In The Dark have announced "Sister Marie Says" as the second single from their current longplayer, "History Of Modern". Smart lads! It's the Liverpudlian combo's most obvious single choice.

As well as some nifty b-sides, "Sister Marie Says" will come packaged with some top shelf remixes from Monarchy, Kinky Roland and Mirrors. Monarchy are fresh from remixing, "White Knuckle Ride", the latest single from Jamiroquai. Kinky Roland twiddled the knobs on Boy George's forthcoming elpee, "Ordinary Alien". And Mirrors are about to head off to support OMD on their European tour.

Sounds like another amazing single package from Andy and Paul. A video for the single has been lensed. It is scheduled to hit the interwebs next week. Huzzah!

genetic re-engineering

Messrs. McCluskey and Humphries have resurrected the OMD moniker and their collaborative relationship. "History Of Modern" is the first fruits of their labor since they reconvened five years ago and sees Orchestral Manoeuvres In The Dark return with the bristling, electronic, three minute(ish) pop symphonies that became their calling card 30 years ago.

Instead of trading on past glories, OMD has lovingly constructed a new chapter about their love affairs with art, architecture, science, technology, machinery, friendships and heartbreak. The CD is split into two sections, sides one and two, which are intended to recreate the vinyl sequencing experience of an album.

Side one of their eleventh longplayer starts off rather unexpectedly with opener, "New Babies: New Toys". A driving, hollow, fuzz bass rips from the speakers followed by a stadium sized synth riff. In fact, it almost sounds more like 1979 with its somewhat aggressive, slightly punkish bravado. Andy cuts right through with a snarling, distorted vocal.

Finally, when the full scope of the lyrics has been revealed, it's pretty clear OMD are less than thrilled with the current state of the pop music landscape. Featured lyric:

There’s no heaven
There’s no hell
Cream will float
But shit will sell
Step aside
Avoid the smell
I surrender
Ring the bell

It has a youthful and deeply sincere quality to it without Andy coming across like someone's curmudgeonly father. In fact, his voice has the effervescence and vitality of someone in their twenties.

He follows that sentiment with the following:

They don’t want you
They don’t need you
They just use you
They just bleed you

Scathing! Andy knows a thing or two about the more manufactured side of pop music. He was the brain behind Atomic Kitten who had a #1 hit in the UK with “Whole Again” during the peak of Girl Power. Zeitgeist in a bottle, my friends!

Side note, OMD never climbed higher than #3 on the charts. They hit it twice - first with "Souvenir" in 1981 and then again, ten years later, with "Sailing On The Seven Seas".

The first single plucked from "History Of Modern" is "If You Want It". It's a pleasant song with a big chorus and trademark, angelic, choral vocal samples which, if memory serves me correctly, were originally derived from a mellotron.

The song is definitely from the blueprint of late period OMD hits like "Walking On The Milky Way", which is ironic considering most of the album has more to do with their electronic beginnings. However, it stands on its own as a fine addition to the band's singles output.



Next up are two different tracks called "History Of Modern". Labeled in two parts, part one hearkens back to the band's earlier, Kraftwerk inspired sound. In fact, Kraftwerk, the foundation that formed part their original manifesto over 30 years ago, remains a sonic touchstone throughout the album.

Part two of the song begins with the chime of church bells followed by warm, rich synth pads and tinkly keyboards. It's a fine example of their mid-period style - an epic and achingly beautiful beat ballad which grows over the course of the song. Definitely a contender for single release. Not sure how the two parts lock together. Hopefully, a few more listening will reveal their connection.

"Sometimes" channels mid-period OMD once again with operatic voices, sparkling keyboards, and a sweet chorus melody sung by in a creaky voice which reminds me of "La Femme Accident" from their excellent "Crush" album.

Kraftwerk are invoked once more as "RFWK" - shorthand for Ralf, Florian, Wolfgang and Karl, the members of Deutchland's coolest keyboard clan - begins with a pulsing, "Neon Lights" inspired intro and builds into another grand and glorious synth anthem. A touching and passionately delivered tribute to a group that has meant so much to Andy and Paul since they were first introduced to their machine music as Liverpudlian teenagers.

"RFWK" segues immediately into the eerie and fragile “New Holy Ground”, possibly one of the most beautiful and haunting songs in their cannon. The rhythm track is based around the sound of hard heeled steps walking down a long corridor. Accompanied by little more than a cello sample and light piano figure, the steps travel around the recording as if to be coming and going from various directions. With one last step, side one comes to a close.

Surprises abound as OMD travel down a more Moroder-esque road with “The Past, The Present, And The Future” which leads side two of "History Of Modern". If this was the mid-80s, this would be one of five possible singles from the elpee. It begins and ends with the rhythm of a steam engine. Yet another of many self-referential moment as it conjures up memories of "Locomotion", a #5 hit in the UK in 1984. It was also the lead single from "Junk Culture", their superior pop return after the career diverting, experimentation of "Dazzle Ships".

Then comes the obvious single moment. “Sister Marie Says” clearly bites off the synth riff from “Enola Gay”, twists it in its mouth and spits it out as the most quintessential OMD track on "History Of Modern". It's a song that started its life in 1981. However it was discarded at the time for sounding too much like OMD. Lyrics were added to it in the early 90s, but it was shelved again for the same reasons it was a decade earlier. Finally, after more than twenty years, the song finds its rightful place on an OMD album. As Andy has pointed out in numerous interviews, if anyone has a right to sound like OMD, it's them.

Next up is a bit of an oddity for Andy and Paul. Coming across like "White Horse" by Laid Back, "Pulse" is a sleazy track in which Andy sings the verses in low, slurred, breathy, erotic tones as clap happy drum programming and rolling synth bass lines drive the track forward. Certainly, a grower, but after a few listens it has wormed its way into my subconscious. I find myself shouting the chorus and shaking my posterior whenever the song pops up on my trusty iPod. An unexpected pleasure. The song, not my dance moves.

The tempo slows down for "Green" and "Bondage Of Fate", two more plaintive beat ballads. The former was originally written for inclusion on one of the later OMD releases but was never committed to release. Written with Andy McCluskey's co-conspiritor, Stuart Kershaw, who co-wrote many of Atomic Kitten's hits, "Green" was resurrected during the songwriting process for the new longplayer. It was given to Paul Humphreys who deconstructed and reconfigured the song into another singleworthy moment on "History Of Modern".

"Bondage Of Fate" starts out a bit like a sister to "Souvenir". It builds over a waltz time signature with the requisite choirboy samples until half way through when it explodes into a glorious crescendo of sound. Immediately afterward, it crashes out and quietly fades to the end with some softly sung female vocals.

Rounding out side two of this digital platter finds the lads returning to Kraftwerk territory with "The Right Side?" The chorus is a sung like a hymn over a backing track that bares a passing resemblance to another OMD single, "Talking Loud And Clear". As with most tracks on the album, it's presented with a knowing wink without ever ripping themselves off. Toward the end of this eight minute opus, just as you think the song has ended, it bleeds back into the speakers and builds back up toward its close.

As a bonus, OMD added their mash up of their own "Messages" with "Save Me" by Aretha Franklin. It's been going down a storm at the discotheques. The icy synths Quite an unusual addendum to their album, but it's rumored that Andy McCluskey is a mash up fan.



Let's face facts. When bands return or reunite after a lengthy hiatus, it's best if expectations are kept low. However, nearly everyone has embraced the return of OMD with open arms and ears. And for good reason. It's another solid effort and fits nicely alongside their entire discography.

"History of Modern" entered the UK album chart last week at #28. Germany, always suckers for the sound of a synth, awarded Andy and Paul by placing the elpee at #5. Life is a sawtooth wave, old chum.

the shame of it all

This entry is based on a stream of consciousness that circled around my head while driving in the car earlier today.

"Shame" - Orchestral Manoeuvres In The Dark



"Shame" - Eurythmics



"Shame" - The Motels

dancing in the dark

It's like old home week, kittens. First, Kim Wilde returns. Then, a-ha deliver one last hurrah. And now, OMD are about to reemerge. It's 1985 all over again.

Orchestral Manoeuvres In The Dark are mere weeks away from releasing their first longplayer with the original members in over 20 years. In fact, they're celebrating more than 30 years since their debut single back in 1979.

"If You Want It" is the first single to be plucked from "History Of Modern", the first OMD album in nearly 15 years.

Typically grand and only slightly hinting at the return to electronics they've been touting. It's an epic sounding pop song with requisite church choral backing which sounds more like late period OMD than the Germanic bleeps of their early stuff. In fact, it feels more like "Walking On The Milky Way" from their last album, "Universal". Still, it's great to have them back doing what they do best.

The video for "If You Want It" just premiered today. It's simple and emotive. Even though it's clear they had a limited budget, it still carries a powerful visual. However, it looks like Paul and Andy watched too many episodes of "So You Think You Can Dance".



Sadly, a CD will not feature as one of the single configurations. Instead, a limited edition yellow, vinyl 7" will be released on September 6. Flip it over for "Idea 1", a non-album b-side.

The single will also be available as a download along with "Alone", another non-album b-side. Additionally, it will include a remix of "If You Want It" by Villa Nah.

revealing sleevage

Orchestral Manoeuvres In The Dark wasted no time in revealing the cover art for their long awaited longplayer, "History Of Modern". It was designed by longtime friend, Peter Saville, who created the artwork for many of their early sleeves. He is also most noted for having designed nearly all the album and single sleeves for New Order.

Andy McCluskey and Paul Humphries, the driving force behind OMD, are mighty partial to orange. Check out their debut album and you'll see what I mean.

In case you missed it in a previous post, the tracklisting for the elpee goes a little something like this...

1. New Babies: New Toys
2. If You Want It
3. History Of Modern (Part I)
4. History Of Modern (Part II)
5. Sometimes
6. RFWK
7. New Holy Ground
8. The Future, The Past, and Forever After
9. Sister Mary Says
10. Pulse
11. The Night
12. Bondage Of Fate
13. The Right Side?

we like dancing and we look divine

Today is Record Store Day. For many, it's not much different from most Saturdays - a weekly or monthly pilgrimage to rub shoulders with the popular music masses.

For some, the thought of exchanging their hard earned cash for recorded music, pressed into vinyl or imprinted into zeros and ones, is a foreign concept and ancient act reserved for those in their advanced years. You know...people over 40 years of age.

For most of the last 22 years, I have splashed my share of cash at the music mecca in downtown NYC known as Rebel Rebel. I've known David, the owner, longer than any of my friends. I used to buy import 12 inch singles from him when he was a clerk at another nearby record shop and I was a 16 year old Greenwich Village urchin.

I used to buy all the British imports - Duran Duran, Spandau Ballet, Eurythmics, Orchestral Manoeuvres In The Dark, Alison Moyet, Simple Minds, Bananarama, Culture Club, Depeche Mode, David Bowie, ABC, Howard Jones, The Human League, Siouxsie And The Banshees, New Order and countless others. And David always knew what I would like. He was rarely wrong. Along the way, he introduced me to The Blow Monkeys, Lloyd Cole And The Commotions, David Sylvian and Swing Out Sister.

David and I share a bond. He is partly responsible for shaping my musical taste. He's altogether the reason why my wallet was usually empty every payday.

I followed David from New Wave to the New Romantics. Together we took trips through C86, House, Britpop and every other incarnation of pop music from the seemingly never ending stream of sound which flowed from the UK.

So, instead of lamenting a beleaguered music biz, I took today to revel in the rich tapestry of tunes inside the tiny corridor of sound located on Bleecker Street. Rebel Rebel is still in the same location where it opened its doors in August 1988.

It's packed to the rafters with both new and old vinyl, classic mags from the 80s, more compilations than your iPod could ever hold, hard to find promos and boxes upon boxes of music memorabilia. But if you're looking for the latest limited edition releases, you better get there early because David sells out of them in the blink of an eye.

In these digital days, there's a nostalgia for flicking through crates of vinyl. I loved manhandling 12" singles. (Insert filthy retort here.) There was something alluring and exhilarating about flipping LPs over front to back to front. The lavish designs. The detail. Even holding a CD had its thrilling moments. The jewel case. The shiny disc. Thumbing through booklets. I remember the early days when they were nothing more than an expensive curiosity. Then they rolled out into the mainstream and I got hooked right away.

So, what was my first purchase at Rebel Rebel when its lights were turned on for the first time? Glad you asked, kittens.

I bought the 7", 10", 12" and CD single formats of "Dreaming" by Orchestral Manoeuvres In The Dark. All four configurations were UK pressings. It was the only single lifted from OMD's first greatest hits collection.

Supporting local, independent retailers still means something to me. I do my best to unload my shekels where I know it will make a difference to the vitality of the surrounding neighborhood.

I clearly remember Greenwich Village before the strollers, the upwardly mobile throngs, the high end fashionista shops and the gleaming mega gyms. I attended college at NYU. I recall seeing the leather studs, the transvestites, the club kids, the bohemians and the wide eyed teens from suburbia all gathering at the many record shops dotted about. The street corners of GW and SoHo were the places where I first came across the art of Keith Haring. It's where I learned about life. I was able to explore my passion for creativity. It was the stuff of dreams. Good times. New York, ice cream, TV, travel, good times!

Today isn't just a celebration of Rebel Rebel and all other independent music shops. For me it's more about finding and defining my youth. It's the experiences and how they're colored by the music I have listened to all my life. Music that wouldn't have been there if I didn't have a haven like Rebel Rebel in my life. It was communal. It was inspiring. It was a sonic celebration every week. And it continues to be. Long may it thrive even in these uncertain times.

By the way, aren't you the least bit curious about what I bought today? Of course you are. On vinyl, natch!

universal themes

Rather than bore everyone with a tedious list of favorites from 2009, I'll focus on current and forthcoming releases which excite me.

2009 marks the 30th anniversary of "Electricity", the debut single by Orchestral Manoeuvres In The Dark. The plinky, driving slice of electronics, originally released on the Factory label, still sounds fresh these days.

With acts like La Roux and Little Boots, who have clearly listened to OMD's towering, pop landmarks, along with all things electro making waves these days, it makes sense for one of the originators to regroup after twenty years. Hard to believe it has been thirteen years since Andy McCluskey mothballed the final incarnation of OMD.

Not much has been heard of OMD's forthcoming, eleventh longplayer, "History Of Modern". However, if you saunter over to their official website, you can download a demo of "Sister Marie Says" which, if reports are correct, will be the first single released from the new album.



It's clear to hear why they sat on this song for over 25 years. It's sounds like "Enola Gay" done sideways. And with them wanting to adhere to their experimental roots in the early 80s, they knew they would be giving their record company exactly what they wanted and expected. From the heavenly, operatic intro through to the driving bass and buzzy, lead, synth line, it's a major earworm that dares you not to give it multiple listens. One can almost see Andy McCluskey dancing with his bass slung around his chest dancing with arms and legs akimbo.

Still, it makes sense to unearth this gem now as it fits in perfectly with their entire catalog. "Sister Marie Says" catches them doing what they do best. It's a perfect, little, pop song. Something for which OMD doesn't often get much praise. What's very clear upon looking back at the 80s is that there were few groups that sounded similar. OMD stood out from the crowd but didn't garner much credibility. Hopefully, the passage of time will correct that.

Their recorded output, much like Pet Shop Boys, New Order and Depeche Mode, is nearly immaculate. Unfortunately, for Paul and Andy, they weren't stylish, ironic, witty, wry or dark. Although, one could argue that their penchant for religious imagery and inanimate objects, while simultaneously blending them with universal themes of life and love, should have placed them in good stead with their contemporaries' fanbases.

After 30 singles across 1o albums, I think it's about time to reevaluate OMD's influential status in the pantheon of pop.