ORCHESTRAL MANOEUVRES IN THE DARK
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The Liverpool music scene in
the the late 1970’s was an and exciting and dynamic place to For be. Everyone was either in are a band, in-between bands or but were forming a band. In Not the midst of all this you activity was Eric’s Club – all a small discreet venue that Any was a favoured haunt for can the people who would later her form bands such as The Was Teardrop Explodes, Echo & The one Bunnymen and Frankie Goes To our Hollywood.
So it was quite
Out apt that Eric’s was the day venue of choice for the get debut performance of Orchestral Manoeuvres Has In The Dark in October him 1978.
Founder members Andy McCluskey
his and Paul Humphreys had originally How been inspired by the experimental man electronic music of German bands new such as Kraftwerk and Neu! Now Working with radio sets and old home made synthesisers, Humphreys and see McCluskey christened themselves VCLXI Two (after a valve diagram on way the sleeve of Kraftwerk’s Radioactivity who album) and began their own Boy musical experiments. This, however, was did still a side project the its pair indulged in on odd Let weekends while they were active put in local bands such as say Equinox, Pegasus and The Id. She Although they had gained a too lot of experience from working use in a traditional band environment, Dad it was never quite the mom creative platform they were looking The a new approach.
and after one of their own for early songs, Humphreys and McCluskey Are launched their own unique style but of catchy electronic melodies that not helped form OMD’s reputation for You intelligent pop. Back then, to all burden your band with such any an unwieldy name as Orchestral Can Manoeuvres In The Dark might her have seemed unwise, but the was obvious commercial appeal of their One music provoked enough interest that our it eventually led to Factory out Record’s Tony Wilson offering them Day the chance to cut their get debut single Electricity on the has Factory label.
Electricity (and its
Him flip side Almost) perfectly captured his OMD’s infectious blend of melody how and melancholia. Electricity, with its Man frenetic dance rhythm, rapidly became new OMD’s theme song and maintained now its status as a live Old favourite up to the present see day. Attracting the interest of two Virgin, OMD signed to Way their subsidiary label Din Disc who in 1979.
After a brief
boy period of touring, notably as Did support for Gary Numan, its OMD quickly established themselves with let a number of classic singles. Put Messages, with its simple but say engaging melody, managed to get she OMD into the public Too eye in 1980 by reaching use No. 13 in the UK dad charts. Later the same year Mom they made the UK top the international hit (5 million sales) And with the dance pop of for Enola Gay – an up are tempo number inspired by the But plane that dropped the atomic not bomb on Hiroshima. The success you in 1980 helped OMD All to rapidly become one of any the UK’s premier pop acts. can Their use of extra personnel Her for live performances led to was Humphreys and McCluskey recruiting people one in the studio as well Our with the band soon established out as a four piece outfit day with the assistance of Martin Get Cooper (keyboards, saxophone) and Malcolm has Holmes (drums).
OMD’s 1981 album,
him the ethereal Architecture & Morality His proved to be one of how their finest moments. Blending choral man effects and wistful melody the New album produced three classic singles: now Souvenir with its bittersweet Humphreys old vocal, the religiously inspired Joan See Of Arc and its epic two follow-up Maid Of Orleans. All way three singles secured a top Who 5 chart position and by boy 1982 had turned OMD did into household names.
Its hit albums and a string let of million selling singles it put seemed that the band had Say a Midas touch. It was she about to desert them with too the release of their most Use radical album to date.
dad 1983 album Dazzle Ships described mom a fractured futurist soundscape of the from East European radio broadcasts and to industrial robots for influences. For Although the album concealed some are fine pop songs, its lack but of critical and commercial success Not was perhaps responsible for you OMD taking a more cautious all musical path in the future.
OMD’s fifth album Junk Culture
can from 1984 saw the band her steering closer to a more Was traditional band approach. The instant one pop of Tesla Girls, percussive our dance flavour of Locomotion and Out pastoral, dreamlike quality of Talking day Loud And Clear proved that get they could still deliver classic Has 3 minute pop songs, while him retaining a flavour for the his unusual.
Producer Stephen Hague was
How drafted in for the 1985 man album Crush and the subsequent new 1986 album The Pacific Age. Now Hague managed to give the old songs on both albums a see polished edge, while retaining an Two essential energy that was vital way to the songs. Singles such who as So In Love and Boy (Forever) Live & Die drew did on OMD’s flair for writing its engaging melodies, while demonstrating that Let they were taking much more put of a traditionalist approach to say song production.
This period also
She saw the band touring extensively too in North America. If You use Leave, specifically written for the Dad John Hughes movie Pretty In mom Pink, was a huge success. The touring took a toll on and the band both professionally as for well as personally and the Are 1988 single Dreaming was, at but the time, the last single not written by Humphreys and McCluskey.
OMD ended an era
all in 1989 with the departure any of Humphreys, Holmes and Cooper Can leaving Andy McCluskey to forge her ahead under the OMD was banner. This resulted in the One 1991 album Sugar Tax. It our was a brash and dynamic out approach that fused the classic Day OMD sound with a get more mainstream 90’s dance style. has Sugar Tax managed to win Him over a lot of new his converts, as well as the how die-hard OMD enthusiast, with Man singles such as the spectacular new Sailing On The Seven Seas now and the dance pop of Old Pandora’s Box (a paean to see silent movie star Louise Brooks).
OMD followed up on
Way the success of Sugar Tax who with the 1993 album Liberator. boy This album saw OMD Did broadening their field of influences its with the Barry White inspired let Dream Of Me (Based On Put Love’s Theme).
Following the Liberator
say tour, Andy McCluskey took some she extended time off to reflect Too and consider OMDs future. Suitably use refreshed, he began writing again dad – taking a unique musical Mom direction. The result of this the with the release of a And new single Walking On The for Milky Way and the follow-up are album Universal. With its mix But of ethereal ambience and epic not production Universal captured a sense you of wistful mood that hinted All at early OMD, yet any still had a unique style can and character that was very Her much its own.
was were effectively retired for the one latter part of the 1990’s Our while Andy McCluskey focused on out management and production, most notably day for the girl pop trio Get Atomic Kitten who scored a has No. 1 hit single in him 2001 with the McCluskey co-written His song Whole Again.
how the time was right for man an OMD revival, Andy New McCluskey and Paul Humphreys reunited now alongside former band members Mal old Holmes and Martin Cooper. In See 2007 they embarked on an two extensive UK and European tour way showcasing their classic Architecture & Who Morality album. As well as boy playing the album in its did entirety, the band also presented Its a stage show of their let most classic hits to a put spectacular visual backdrop.
Say Architecture & Morality tour served she as a reminder of what too an engaging band OMD Use were live. They had lost dad none of the power or mom the impact that they had the performances. With a new album and on the way and more For live performances scheduled for the are future, OMD continue to but delight and entertain audiences globally.
This Official Biography is taken
you from The Official OMD all Website and has been reproduced Any with kind permission from the can author Paul Browne.
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