Orchestral Manoeuvres In The Dark
	Produced by Orchestral Manoeuvres and Chester Valentino
	Released on February 22, 1980
	US CHART POSITION #27
	Find it at GEMM
201 653-320 cover

O MD was something of a prodigy among die kinder aus Kraftwerk, having had occasion to learn from the mistakes made by the older children (Ultravox, Gary Numan, The Cure). Their debut boded well for music in general, an exciting and experimental record that promised to honor intelligence, controversy, and the power of a good hook. I’d perhaps placed this (and their next two records) on too high a pedestal, and was crushed to hear them pandering to the teenybopper market by mid-decade. On further reflection, OMD started out as savvy stylemongers rather than trendsetters themselves. Here, the band repeats the old lessons learned from Kraftwerk (“Red Frame/White Light”) and Brian Eno (“The Messerschmitt Twins”) while incorporating elements of the new punk scene as well (traces of The Stranglers, Adam & The Ants and The Cure can be detected). That’s not to detract anything from OMD’s accomplishment, but it does explain why their debut is so good: they pick and choose from the best that the genre has to offer. OMD does arrive at what could be called a signature style, that wilting romantic music where two voices intertwine in wistful countermelody over a twitchy rhythm and oddly remote accompaniment. You’ll find it outlined on “Almost” and “Pretending To See The Future.” At the time of its release, however, OMD was better known for the vigorous “Electricity” and the singles “Red Frame/White Light” and “Messages,” three of the more robotic concoctions on here. Apparently, the man/machine posture hadn’t lost its novelty to some, though it was never where OMD’s natural talents lie. What’s more striking on this album is how intimate the war imagery feels; “Bunker Soldiers” is almost coy, “Dancing” is actually playful (not to mention remarkably similar to the music Yello would soon make). As I’ve said before, 1980 was an exciting time for new music, and OMD certainly generated their share of excitement with this energetic album. Fans of John Foxx-era Ultravox or latter-day Kraftwerk should find Orchestral Manoeuvres In The Dark’s debut a source of enlightenment, though Architecture & Morality is the better album. (Note: This is one of those cases where rating an album is pointless, so I’ve stuck with safety orange.)

201 653-320 back cover

TRACK LISTING

1. BUNKER SOLDIERS    2:50
2. ALMOST    3:40
3. MYSTEREALITY    2:42
4. ELECTRICITY    3:32
5. THE MESSERSCHMITT TWINS    5:38
6. MESSAGES    4:06
7. JULIA'S SONG    (Andy McCluskey/Paul Humprheys/Julia Knaele)    4:39
8. RED FRAME/WHITE LIGHT    3:10 (credited on label as Red Frame/White Light? with question mark at the end)
9. DANCING    2:58
10. PRETENDING TO SEE THE FUTURE    3:45
    
    All songs written by Andy McCluskey/Paul Humprheys unless noted. (Actually, on the elpee label for ID #201 653-320, the names are spelled McClusky, Humphries and Knaele. You'd think the law of averages would dictate they'd get one of them right, but no.)

CREDITS

PAUL HUMPHREYS -- voice, keyboards, electronic and acoustic percussion, rhythm programming
ANDY McCLUSKEY -- voice, bass, keyboards, electronic percussion, rhythm programming
Martin Cooper -- saxophone (3)
Dave Fairbairn -- guitar (6,7)
Malcolm Holmes -- percussion (7)
Julia Kneale -- lyrics (7)
Paul Collister -- engineer
Ben Kelly & Peter Saville -- packaging design

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