I think we both decided that OMD, as it was, could not have continued - it would have completely self‑destructed.
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But looking back, I realise that it had to happen. "I was traumatised when he left," McCluskey admits today, "because he was the guy I'd written songs with since I was 16. The group embraced a much more obviously pop‑based approach on subsequent albums, but curiously this yielded a reduced success rate for their singles and albums overall, with occasional exceptions, such as the 1986 worldwide smash hit 'Forever Live And Die'.Īs the duo's fluctuating fortunes continued and the decade wore on, conflicting interests within the partnership began to surface, and when, in 1989, Paul Humphreys decided to leave and pursue a career outside the band in The Listening Pool, Andy McCluskey had to pick up the pieces. After the relative failure of Dazzle Ships, OMD were never quite the same again, despite the continued adoption of then‑new technology, like the Fairlight CMI. With the expectations placed on them by the public following the triumph of Architecture & Morality, the subsequent album Dazzle Ships was a commercial disappointment, although the duo were in fact continuing in the experimental vein that had led them to discover the successful Mellotron‑and‑Gregorian chant‑based Architecture sound in the first place but this time their experiments used early sampling technology such as the Emu Emulator.
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Like many predominantly synth‑based groups of the early '80s, OMD hit a rocky patch in 1983. Singles like 'Electricity', 'Messages', 'Enola Gay' and 'Maid Of Orleans' met with enormous chart success as a result, and were guaranteed places on all future synth‑pop compilation albums. From their low‑key 1979 eponymous debut album through to 1981's superb Architecture & Morality, they balanced their love of Kraftwerk with epic Vangelis‑like synthscapes, and had a healthy tendency to encapsulate both of these influences in three‑minute pop songs. Orchestral Manoeuvres In The Dark were a truly '80s pop success story - an electronic duo (Andy McCluskey and Paul Humphreys) who had the knack of writing killer melodies. Nigel Humberstone talks to McCluskey and producer Matthew Vaughan about the making of Universal.
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One‑time lords of synth‑pop, OMD have had a chequered 18‑year history, but frontman Andy McCluskey genuinely believes their 10th and latest album ranks among the band's best work.