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Track Listings
| 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 |
| 9. Sister Marie Says |
| 10. Pulse |
| 11. Green |
| 12. Bondage of Fate |
| 13. The Right Side |
Editorial Reviews
One of the reasons Orchestral Manoeuvres in the Dark have called their brand new album,their eleventh,'History of Modern' is because they are acutely aware of what it is they're doing with this release. On paper, this is the UK synth-pop pioneers' first new material since 1996, but in spirit,it has more in common with the group's early '80s heyday when their hits lit up the charts and set the agenda for a bold new movement in British electronic music. Fast forward 30 years to the reunited OMD of 2010 and it's clear that that sense of mischief and youthful idealism still fuels the group.
Customer Reviews
Most Helpful Customer Reviews
24 of 25 people found the following review helpful
By rockgirl
Format:Audio CD
There's been a recent resurge of electronic music in the past few years and though it's stayed mostly in UK/Europe and hasn't crossed the pond to the states yet, hopefully with this, the first OMD album in 14 years, that will quickly change! 14 years is a long time but founding members Andy McCluskey and Paul Humphreys have found a way to bridge the gap of time and produce what could arguably be called one of their best albums of their career. Offering a hybrid of new and old sounds, this gem is likely to not only please the long-standing fans but grab a whole new generation who, perhaps unknowingly, have been listening to OMD through influence in bands such as The Killers and LCD Soundsystem.
Opener NEW BABIES: NEW TOYS comes rearing out of the gate with a 'take that' attitude. It's edgier than what many think or remember OMD sounding but easily fits into todays mainstream with its bombastic bass, distorted vocals and heavy, head-bopping beats. It's followed by IF YOU WANT IT, a song written originally by Mr. M. for one of his past girl bands. Filled with a catchy chorus and choral "aws" it works, much in thanks to the retention of his valuable vocal quality at the ripe YOUNG age of 51!
HoM PART 1 and 2 are definitely OMD in their "pop hits" area and PART 1 is, in my opinion, OMD at their best. Mr. H.s synths, earlier described as 'call and reply' play well with Mr. M.s addicting melody, laced with lovely harmonies. I challenge anyone to try sitting still for this one!
SOMETIMES is a slower, groovy number with additional vocal samples by Jennifer John to help get across the message of despondent love, while RFWK is one of a couple Kraftwerk-ish songs but rightfully so since it's a tribute to the band and their influences on both Mr. M. and Mr. H. With touching offerings displayed in lyrics "I loved you when I found you, I loved you like a son" draped in synthetic, almost whiny keys, it makes one wonder just where these two would be in life had they not been in the crowd at the Kraftwerk show as teens!
And then there's NEW HOLY GROUND! This is a definite tear-jerker of a song. It begins with the sound of a woman's high heels hitting the ground as she paces the floor; an absolutely striking element to the song that repeatedly paints a vivid image to match the songs theme of profound self reflection and renewal. Add in deep, cello-like sounds and an achingly beautiful single key melody, along with vocals that crack with emotion and you've got one of the most moving songs on the album! (Plus the fact that it was created in literally hours is just proof of the magic these two can do when in a room together.)
THE FUTURE, THE PAST, AND FOREVER AFTER is a quirky little disco ditty that screams Georgio Moroder and could definitely get a dance floor going in both a retro and a modern club. SISTER MARIE SAYS, by Mr. M.s account, was a song shelved way back in the early days for sounding too much like Enola Gay but given new life with modern technology, it's much like the HoMs, good ol' OMD synth-pop!
PULSE, ah, PULSE....yes well, to put it mildly, it stands out. It's a song that is probably the farthest from OMD than any can be and will cause many (including myself)to blush or drop the jaw because of it's, shall I say 'adult' nature. It's filled with deep, seductively breathy vocals from Mr. M. with an almost equally alluring female backing track, all layered over an irresistible dance beat. What's not to like?! ;o)
After that, the cd takes a slower, more 'back to the beginning' approach. GREEN is in the realm of NHG with it's achingly divine melody and lyrical content that gets matched by Mr. H.s, captivating instrumentation that includes rippling keys and a steady pound. BONDAGE OF FATE is, in many ways, more enthralling than Green or NHG; for some reason it just mesmerizes me. Maybe it's the waltz-like rhythm, or the woman's babbling or the choral sounds...all together it's just wonderful! And THE RIGHT SIDE?, well this is another treasure. Giving one final nod to Kraftwerk, it's plinkering keys and ambient chorals easily make the 8.17 minute song seem to flow by in a smooth, relaxing way.
That leaves us with SAVE ME, a track added onto the American release and chosen to be the first single. It's a mash-up between Aretha Franklins Save Me and OMDs classic Messages. It begins with a computerized Messages entrance followed by a voice announcing "electronic, solar music" and that pretty much explains what comes next. Mash-up is a perfect word for this dance hall, hip, and carelessly fun song.
I rarely find a cd that doesn't have at least one song I don't like on it but can honestly say I like, and in more cases than not, LOVE the songs here. I'm a longtime fan of OMD so was hoping for a cd I could casually enjoy while rejoicing in the fact they even reformed and made an attempt at new music. INSTEAD, I got HoM, an absolutely brilliant piece of work that shows these guys still have it and can stand up to any of their counterparts (and surpass them imho). I think even newcomers to the world of OMD will embrace the caliber of the music on the release. Don't look at this as a 'come back album' from 'an 80s band' because it's so much more than that! It's proof that Mr. M. and Mr. H., who both really never stopped working, can still create wonderous pieces that stand the test of time and conform to the musical world of today while retaining the elements that ARE OMD. And with the addition of remaining original members Mal Holmes and Martin Cooper and talks of possibly yet another album to follow, I hope to say these guys are here to stay! A definite 5 stars from me. Welcome back boys!!!
Opener NEW BABIES: NEW TOYS comes rearing out of the gate with a 'take that' attitude. It's edgier than what many think or remember OMD sounding but easily fits into todays mainstream with its bombastic bass, distorted vocals and heavy, head-bopping beats. It's followed by IF YOU WANT IT, a song written originally by Mr. M. for one of his past girl bands. Filled with a catchy chorus and choral "aws" it works, much in thanks to the retention of his valuable vocal quality at the ripe YOUNG age of 51!
HoM PART 1 and 2 are definitely OMD in their "pop hits" area and PART 1 is, in my opinion, OMD at their best. Mr. H.s synths, earlier described as 'call and reply' play well with Mr. M.s addicting melody, laced with lovely harmonies. I challenge anyone to try sitting still for this one!
SOMETIMES is a slower, groovy number with additional vocal samples by Jennifer John to help get across the message of despondent love, while RFWK is one of a couple Kraftwerk-ish songs but rightfully so since it's a tribute to the band and their influences on both Mr. M. and Mr. H. With touching offerings displayed in lyrics "I loved you when I found you, I loved you like a son" draped in synthetic, almost whiny keys, it makes one wonder just where these two would be in life had they not been in the crowd at the Kraftwerk show as teens!
And then there's NEW HOLY GROUND! This is a definite tear-jerker of a song. It begins with the sound of a woman's high heels hitting the ground as she paces the floor; an absolutely striking element to the song that repeatedly paints a vivid image to match the songs theme of profound self reflection and renewal. Add in deep, cello-like sounds and an achingly beautiful single key melody, along with vocals that crack with emotion and you've got one of the most moving songs on the album! (Plus the fact that it was created in literally hours is just proof of the magic these two can do when in a room together.)
THE FUTURE, THE PAST, AND FOREVER AFTER is a quirky little disco ditty that screams Georgio Moroder and could definitely get a dance floor going in both a retro and a modern club. SISTER MARIE SAYS, by Mr. M.s account, was a song shelved way back in the early days for sounding too much like Enola Gay but given new life with modern technology, it's much like the HoMs, good ol' OMD synth-pop!
PULSE, ah, PULSE....yes well, to put it mildly, it stands out. It's a song that is probably the farthest from OMD than any can be and will cause many (including myself)to blush or drop the jaw because of it's, shall I say 'adult' nature. It's filled with deep, seductively breathy vocals from Mr. M. with an almost equally alluring female backing track, all layered over an irresistible dance beat. What's not to like?! ;o)
After that, the cd takes a slower, more 'back to the beginning' approach. GREEN is in the realm of NHG with it's achingly divine melody and lyrical content that gets matched by Mr. H.s, captivating instrumentation that includes rippling keys and a steady pound. BONDAGE OF FATE is, in many ways, more enthralling than Green or NHG; for some reason it just mesmerizes me. Maybe it's the waltz-like rhythm, or the woman's babbling or the choral sounds...all together it's just wonderful! And THE RIGHT SIDE?, well this is another treasure. Giving one final nod to Kraftwerk, it's plinkering keys and ambient chorals easily make the 8.17 minute song seem to flow by in a smooth, relaxing way.
That leaves us with SAVE ME, a track added onto the American release and chosen to be the first single. It's a mash-up between Aretha Franklins Save Me and OMDs classic Messages. It begins with a computerized Messages entrance followed by a voice announcing "electronic, solar music" and that pretty much explains what comes next. Mash-up is a perfect word for this dance hall, hip, and carelessly fun song.
I rarely find a cd that doesn't have at least one song I don't like on it but can honestly say I like, and in more cases than not, LOVE the songs here. I'm a longtime fan of OMD so was hoping for a cd I could casually enjoy while rejoicing in the fact they even reformed and made an attempt at new music. INSTEAD, I got HoM, an absolutely brilliant piece of work that shows these guys still have it and can stand up to any of their counterparts (and surpass them imho). I think even newcomers to the world of OMD will embrace the caliber of the music on the release. Don't look at this as a 'come back album' from 'an 80s band' because it's so much more than that! It's proof that Mr. M. and Mr. H., who both really never stopped working, can still create wonderous pieces that stand the test of time and conform to the musical world of today while retaining the elements that ARE OMD. And with the addition of remaining original members Mal Holmes and Martin Cooper and talks of possibly yet another album to follow, I hope to say these guys are here to stay! A definite 5 stars from me. Welcome back boys!!!
29 of 32 people found the following review helpful
Format:Audio CD
When I first heard OMD was releasing a new album I was excited, as I'd been happy with the past few albums under the guidance of Andy McCluskey - knowing I'd rather have a solo OMD than no OMD. When I heard this new album was going to include all four original members, I was ecstatic.
What they've achieved with History of Modern is not only a wink to their past, but a foothold into their future. Saying this is their best album in a few decades is accurate in the way that "Yes" was the best album in a few decades for the Pet Shop Boys. It's a return to form. It's a collective example of how a band can use the sounds they've created over the years and breathe new life into them. It's a difficult task for most bands and could have been an uphill battle, but for History of Modern it sounds easy. It sounds natural.
Songs like "HOM Part 1", "The Right Side" and "New Babies : New Toys" are absolutely euphoric and beyond anything I'd dreamed imaginable. Others such as "HOM Part 2", "Sometimes" and "If You Want It" are songs that any other band would kill to have in their arsenal of music. Catchy and unforgettable, the songs on HOM are also the best produced I've ever heard from OMD - the production is flawless. No rush job here.
With that, I'd say 60% of HOM is outstanding. Pristine pop with one foot planted firmly in the electronic maturity of it all. Another four or so songs are amazingly well crafted and break up the ear candy just enough to let your feet relax and appreciate the depth that this album has to offer. There are a couple tracks that are slow growers, but hey, that's the truth with almost every album - but having a 13-track album of this quality from OMD in 2010? Unheard of, until now. No complaints.
What I like most about this album is that OMD have created something that has been needed from them - a benchmark to reflect upon everything they've released in the course of their career while looking forward. Knowing that History of Modern is THIS good, makes me all the more excited as to what the follow up will sound like, as surely this can't be their last album. I'm hoping in many ways this is a new beginning.
What they've achieved with History of Modern is not only a wink to their past, but a foothold into their future. Saying this is their best album in a few decades is accurate in the way that "Yes" was the best album in a few decades for the Pet Shop Boys. It's a return to form. It's a collective example of how a band can use the sounds they've created over the years and breathe new life into them. It's a difficult task for most bands and could have been an uphill battle, but for History of Modern it sounds easy. It sounds natural.
Songs like "HOM Part 1", "The Right Side" and "New Babies : New Toys" are absolutely euphoric and beyond anything I'd dreamed imaginable. Others such as "HOM Part 2", "Sometimes" and "If You Want It" are songs that any other band would kill to have in their arsenal of music. Catchy and unforgettable, the songs on HOM are also the best produced I've ever heard from OMD - the production is flawless. No rush job here.
With that, I'd say 60% of HOM is outstanding. Pristine pop with one foot planted firmly in the electronic maturity of it all. Another four or so songs are amazingly well crafted and break up the ear candy just enough to let your feet relax and appreciate the depth that this album has to offer. There are a couple tracks that are slow growers, but hey, that's the truth with almost every album - but having a 13-track album of this quality from OMD in 2010? Unheard of, until now. No complaints.
What I like most about this album is that OMD have created something that has been needed from them - a benchmark to reflect upon everything they've released in the course of their career while looking forward. Knowing that History of Modern is THIS good, makes me all the more excited as to what the follow up will sound like, as surely this can't be their last album. I'm hoping in many ways this is a new beginning.
18 of 20 people found the following review helpful
By Vicky Welsby
Format:Audio CD
Way back in the 80s whenever I bought a new album, I'd play it to death and drive everyone insane I'd play it so much. I haven't done that in many a year......until now! If I could give this 10 stars, I would. I just LOVE this album. From the stunning, stunning ballad "Green" which sends shivers down my spine every time I hear it, and the beautiful "Bondage of Fate" to tracks like "Pulse" (the adult nature of which, I have to admit, was a bit of a shock at first!) with its infectious beat. I've been a fan of OMD for over 30 years and I've always loved their instrumentation, and this is no exception, it's superb. I absolutely love every track and just can't decide which one is my favourite. This is OMD doing what they do best, they've gone back to their electronic roots instead of trying to be mainstream. I've only got one tiny, tiny gripe and that's that Paul doesn't do any of the lead vocals at all. But still, this album is BRILLIANT. I've no idea what that BBC reviewer on Amazons UK site was listening to, but he sure wasn't listening to the same album as I did. Well done OMD and welcome back!!
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