One record at a time: 335. Orchestral Manoeuvres in the Dark - Junk Culture

After the commercial disappointment of "Dazzle Ships", OMD seemed determined not to be found wanting next time around. Any pretensions to art were left behind and 1984's "Junk Culture" focussed on accessible pop. 

In order to realise their new album the band elected to use a Fairlight CMI and relocate to AIR studios in Montserrat. Inevitably these changes leached into the record and the result can be something of an acquired taste.

One of the best examples of this new sound is the dub influenced title track which employs the Fairlight, plenty of percussion and some annoying horns. At the extremity "All Wrapped Up" goes for the full calypso experience and even includes a brass arrangement courtesy of Tony Visconti. All well and good if you like that sort of thing, but unfortunately I do not.

The version of "White Trash" on the album is far too slow and nowhere near as good as the demo available on the deluxe CD edition. "Locomotion" and "Tesla Girls" are catchy and you can hear that producer Brian Tench was determined to deliver some radio friendly singles here. Another single "Never Turn Away" is rather dull, but at least it doesn't have steel drums or other incongruous embellishments. "Hard Day" finds Andy singing in a different key to the rest of the band which creates a rather tortuous experience for the listener.

Closing track "Talking Loud and Clear" is a bit twee but it does seem to find a closer balance between sounding pop whilst remaining true to the natural sound of the band. My copy of this LP has the free 7" single with "The Angel Keeps Turning (The Wheels of the Universe)" which is five minutes of self indulgence that is only of interest to hardcore fans. 2/5

One record at a time: 334. Orchestral Manoeuvres in the Dark - Dazzle Ships

What were Andy and Paul thinking when they released this record? Having achieved platinum sales and numerous plaudits for their third album, they decided to sacrifice their career at the alter of art for the follow up.

For OMD, commercial success did not equate to credibility and only a record made up of samples, sound collages and musique concrète could possibly restore their artistic integrity. 

Today you could argue that they achieved their goal as "Dazzle Ships" is seen as an intellectual album that pushed the boundaries of contemporary pop. Yet back in the day it was widely panned and did not sell well. I'm not even sure this record sells today as I have seen the recent 40th anniversary coloured vinyl edition being offered for as little as £15. 

So what is wrong with this album? Well, truth be told there isn't too much amiss. Tracks like "Time Zones", "The Romance of the Telescope" and "Silent Running" are really good compositions and the singles "Telegraph" and "Genetic Engineering" have true pop potential. What seems to drag the album down is the production. 

I definitely get the sense Andy and Paul had a new toy in the form of the EMU Emulator and decided to go to town with it. When pop tunes are allowed to emerge they are soon drowned in a sea of radio tuning, sonar pulses and vocal samples. Whilst earnest in intent, this approach didn't suit a casual pop audience and the album didn't even come close to matching the expectations of the record company.

In fact, you could argue that the break up of the band started with the commercial failure of "Dazzle Ships". OMD wouldn't dare return to such lofty concepts again and a constant push for commercial success led to dissatisfaction in the band. When they went their separate ways in 1989 OMD were still running on a treadmill designed to regain the sales flushed away by "Dazzle Ships". Still, it's quite a good album.

The second disc of the 2023 remastered version contains a number of demos and a live track that add twenty minutes of music. These early versions are only of interest to aficionados, but then that is exactly who the 40th anniversary edition is aimed at. An original copy with a die cut sleeve will cater for the needs of the majority. 3/5

One record at a time: 333. Orchestral Manoeuvres in the Dark - Architecture and Morality

I own two copies of the original pressing of "Architecture and Morality" from 1981 as a result of a mistake. 

I bought my first copy in 2014 and it contained a flyer for the OMD fan club. I smiled at the antiquated looking application form and its request for payment by cheque or postal order and promptly threw it in the bin. Or at least I think I put in the bin, but equally I could have simply lost it. I don't really recall.

Either way, the flyer was nowhere to be found when I realised its presence made an original pressing of the LP more desirable. I searched eBay for months for a listing that contained the flyer, but there were none to be found. I wasn't fussy about the condition of the replacement LP as I could just take out the piece of paper and give the vinyl away to a charity shop (something I did in order to get the merchandise flyer for Jean Michel Jarre's "The Concerts in China") but there was literally nothing being listed on eBay. Eventually I gave in and bought a copy from an online store for slightly more than I wanted to pay. So now I have two copies of this LP, but only one contains a flyer. You never know, someday I might find the other one.

As with almost all OMD albums "Architecture and Morality" is somewhat juxtaposed to its predecessor. Where "Organisation" was dark and brooding, this album allows chinks of light to fall in the darkness. You still get the feeling Paul and Andy created these cracking pop songs as a by-product of their experiments in sound, but the success of tracks like "Joan of Arc (Maid of Orleans)", "Joan of Arc" and "Souvenir" meant this album sold very well and has become regarded as one of the seminal moments in eighties synth-pop. In fact the singles taken from this album were so influential that they were released as a box set to mark the albums 40th anniversary rather than the parent album itself. 

"She's Leaving" is a great 'single that never was' and "Georgia" is a perky bop that would take pride of place on many a lesser artists record. On the artistic and more experiential side, opening track "The New Stone Age" was meant to shock an audience looking for synthpop and the title track strongly points to the bewildering sound collages that were to come on future albums. A classic. 4/5

One record at a time: 332. Orchestral Manoeuvres in the Dark - Organisation

I own two versions of "Organisation" on LP. The first record has a black sleeve and was bought from eBay over ten years ago. I acquired the second copy more recently as I wanted to own the original pressing. Whilst the silver version is indeed from the first batch made available in 1980, I later learned that there was also a limited edition including a free 7" single that is even more desirable. Record collecting can be an exhausting hobby. 

Having released their first album in February 1980, OMD delivered their second effort only eight months later. Clearly the music business moved at a much faster pace back in the early eighties. Despite being released hot on the heels of its predecessor, this album is a sharp contrast to the band's debut. "Organisation" found the band in a darker and more reflective mood drawing on the influence of  contemporaries such as Joy Division. Even the bright and colourful packaging has been replaced by a brooding monochromatic image. 

The album kicks off with the perky single "Enola Gay" which is insanely catchy and was a deserved top ten hit here in the UK. Whist the synth riffs and jaunty Roland CR-78 congas may suggest this is a frothy pop tune, the lyrics talk about the dropping of an atomic bomb on Hiroshima and the horrors of war. Wherever you look on this record there is a dark underbelly.

Songs like "2nd Thought" and "VCL XI" also have bouncy basslines and electronic percussion, but the nonsensical lyrics of the latter and the haunting choir sounds on the former add a sinister edge that fit the mood. Two of my favourite tracks are "Statues" and "Promise" which point to the sound of future OMD records with their increasing reliance on synthesizers and electronics. I know my next statement will be an anathema to OMD fans but I have to be honest: I find "Stanlow" dull and uninteresting. Yes it has an OK tune and the old Korg MicroPreset gets a run out, but it just drones on and on with nothing exciting or inspiring happening. With that off my chest I will summarise more positively by saying this is a much better album than their debut and points to the sound of what was to come 3/5

One record at a time: 331. Orchestral Manoeuvres in the Dark - Orchestral Manoeuvres in the Dark

I was never a big Orchestral Manoeuvres in the Dark fan growing up and aside from "Souvenir", I don't recall hearing their music in my youth. I think my lack of interest in the band may have stemmed from a perception that they weren't really a 'proper' electronic group.

To some extent this notion is born out by this album as the only synthesisers used were the toy like Korg M500 Micro-Preset and a Korg MS-20. The majority of the noise on this record is created by bass guitar, lead guitar, organ, electric piano and saxophone. With the exception of the Roland CR-78 drum machine, everything is played by hand and there is no programming to speak of.

In fairness OMD weren't unique in this regard and, if you look at the charts for 1980, you will find surprisingly little music that was purely electronic. Artists such as Jarre, Vangelis and Kraftwerk came close to some sort of purity, but big chart singles of the day such as Visage "Fade to Grey", Devo "Whip It" and Ultravox's "Vienna" all relied heavily on traditional instruments. Early synth-pop gave the impression of being electronic, but if you lift the lid, it isn't nearly as sophisticated as you might think.

As a result of my electronic snobbery I didn't buy OMD's eponymous debut until about 2007 and I only purchased this vinyl when it was re-released in 2018. Whilst his record will never be my favourite by the band, I am now more accustomed to its style and can appreciate its charms. 

Highlights on this record have to be the debut single "Electricity" and its b-side "Almost". "Electricity" was an attempt to copy the style of Kraftwerk but as it was recorded using a very restricted palette of sounds, it ends up sounding unique. "Mystereality" is a good song that can even withstand a noisy saxophone warbling over the top. The album version of hit single "Messages" is a little rough around the edges when compared to the single mix but it still satisfies. "Pretending to see the future" sounds slightly  derivative but only the terrible "Dancing" deserves "nul points" from the jury.

The pop material on this album is definitely much stronger than the attempts at artistry or experimentation. I think this is probably my other issue with early OMD; they wanted to be experimental but didn't realise they were actually better as hitmakers. 2.5/5

One record at a time: 330. Orbital - Monsters Exist

I only own one Orbital album on vinyl and it is a signed copy of "Monsters Exist" from 2018. I saw this album being advertised on Pledge Music and for some reason I decided to back it. I'm not a massive Orbital fan as I find their music moves between two extremes. Tracks like "Belfast" and "Funny Break" are immaculate, but I really don't like "The Box" or "Style". I think I must gave just gambled that this record would be more to my taste than their previous efforts and hoped for the best.

Happily I like this album and despite being pressed by GZ Media, these two slabs of vinyl actually sound pretty good. The overall package is nice and even included a download card (which you don't seem to get nowadays).

The title track that opens proceedings is a nice piece which leans more to the electronica side of the band's output rather than the banging dance music side. Another highlight on the fist disc is the brilliant "P.H.U.K." which has a harder edge but is bristling with hooks and ideas. "Hoo Hoo Ha Ha" is so characteristically Orbital it almost makes me long for a bit more innovation rather than using the same ideas from the past.

On the second disc "Buried Deep Within" is another interesting slice of electronica but "Vision OnE" and "The End is Nigh" don't really hold my interest. We end on a massive downer with Professor Brian Cox providing an unvarnished description of the end of the universe and reminding us all of our own mortality. Way to kill the mood Prof. 3/5

One record at a time: 329. Mike Oldfield - Return To Ommadawn

"Return to Ommadawn" is the final LP by Mike Oldfield and was released in 2017. Here I am playing the standard 180g black vinyl that was available across Europe.

The first I heard of this album was when an excerpt was played on the radio. For some reason the piece that was played featured a VST generated Clavioline playing a tune akin to "Telstar". Whilst this all sounded very cheesy to my ears, I was still keen to hear the finished album as it promised something of a return to Mike's roots. 

Thankfully, when the album was finally released there was no sign of the "Telstar" rip off and only a short section on the second side of the album bore any resemblance to the music I had heard on the radio. This album was actually much better than I anticipated and I have a strong memory of commuting through heavy traffic during the winter whilst listening to it and thinking, "It's good to have Mike back.". Like everyone else, I had no idea this would be the last album we would hear from the great man.

The opening of part one of "Return to Ommadawn" sees penny whistles playing a theme that is soon superseded by a whole raft of ideas and musical passages that contrast in mood. Yes, there are blank spaces and some slightly puzzling pauses, but people have been happy to forgive far worse on previous records (I'm talking about you "Zombies") so I really don't have a problem with this. I adore the theme that develops after about ten minutes, with the only sour note being the use of a reversed sample of the vocals from the original "Ommadawn" which are undoubtedly a misstep.

The reverse of the disc is just as good as the first, but it does take some time to get going. The first glimpse of a leitmotif emerges after about two minutes but it is snuffed out before being fully developed. At 7'43 the "Victory" theme that was originally teased on the radio arrives, but it is much more restrained and mercifully abandons the Clavioline sound. More passages come and go before the main theme returns and signs off with a little jig.

Inevitably people compare this album to the original "Ommadawn" or even "Hergest Ridge" and regard it as somewhat lesser. Personally I consider "Return to Ommadawn" better in many respects and enjoy it immensely. No doubt such an opinion is close to heresy for Oldfield officianodos but I don't have strong bond with those older recordings and this record just sounds good to my ears. 4/5