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English Electric

4.5 out of 5 stars 78 customer reviews

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English Electric
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Vinyl, June 4, 2013
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Editorial Reviews

Vinyl LP pressing. 2013 release, the 12th studio album from the British synthpop act and the second since the reformation of the original band (Andy McCluskey, Paul Humphreys, Martin Cooper and Malcolm Holmes). The album features a guest appearance from former Propaganda/Act vocalist Claudio Brucken. Artwork is by Peter Saville. Features 'Metroland' and 'Atomic Ranch'.
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Product Details

  • Vinyl (June 4, 2013)
  • Original Release Date: June 4, 2013
  • Number of Discs: 1
  • Label: BMG Rights Management
  • ASIN: B00BDSRBEG
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (78 customer reviews)
  • Amazon Best Sellers Rank: #67,294 in Music (See Top 100 in Music)

Customer Reviews

Top Customer Reviews

By M. Lohrke VINE VOICE on April 9, 2013
Format: Audio CD
When nearly 25 years pass between albums with the original members of OMD, there's bound to be some bumps along the road. "History of Modern" was an OK album, but it sounded like the Andy, Paul and co. were struggling to recapture the magic that made those early OMD albums so exceptional. Sure, it had some high points, but it was largely a lackluster affair. It wasn't altogether unexpected given the long hiatus.

Gladly, "English Electic" rights most of those missteps. With "EE," OMD sounds more OMD than they have since "Sugar Tax." It's a nice mix between the faux-chorals and minimalist synths of "Architecture and Morality" and the experimental knob-twiddling of "Dazzle Ships." "EE" is sprinkled with some classic sounding OMD - "Night Cafe," "Stay with Me" (echos of "Dreaming"), "Dresden" (echos of "Electricity") and "Helen of Troy" (echos of "Joan of Arc" and "Maid of Orleans") are surefire singles with catchy choruses and pristine production. They're light and effortless, but not disposable by any stretch. "EE" isn't so much a reinvention, but rather a reinforcement of all the things that have made OMD so great the last 30 years.

If there's a knock on the album, it's the lyrics. We're talking some pretty pedestrian stuff. They seem to work reasonably well with the lighthearted pop songs, but on their own, they're groaners.. It's all perfectly forgivable, though, since there are few bands out there capable of producing immaculate pop songs on par with OMD.

When I was growing up, Depeche, Erasure and OMD were my holy trinity. With Depeche dropping one of the best albums of their career last month and OMD releasing a very enjoyable album this month, the pressure's on Vince and Andy to bring their A game next time around. I hope they accept the challenge!
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Format: Audio CD
Since Andy McCluskey and Paul Humphreys announced their reformation at a fan convention in 2005, OMD have enjoyed something of a career renaissance. Reunited along with Martin Cooper and Malcolm Holmes, the classic 4-piece performed their 1981 masterpiece, "Architecture & Morality", in full for the first time on 2007's highly successful tour. With the synthpop pioneers back in vogue, and with long overdue critical acclaim for the albums created during the band's Imperial phase in the late 1970s and early 1980s, there was fresh impetus to deliver some new product, and this eventually materialised in 2010...

In truth, McCluskey had been stockpiling material since 1996's "Universal", the last of a trio of `solo' albums that McCluskey had recorded under the OMD moniker for Virgin Records. "History Of Modern" was essentially another solo work, with Humphreys committed to other projects (such as his work with partner Claudia Brucken in OneTwo). Disappointingly it was a rather unbalanced affair, with outtakes ("Sister Marie Says") nestling alongside Atomic Kitten rejects (see the rather strained "If You Want It") and a smattering of new compositions that had been written by McCluskey after his commitment to other girl acts such as The Genie Queen had lapsed. Significantly, however, Humphreys collaborated with McCluskey on the album's two best cuts - "Green" (originally demoed by McCluskey in the early 90s) and the enchanting "New Holy Ground", the track that came the closest to mirroring that classic OMD sound. Fast-forward 3 years and we have 12th album, "English Electric", with both McCluskey and Humphreys pulling the choral strings...
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Format: Audio CD Verified Purchase
My favorite genre of music is New Wave. I grew up with it. There is something about the post-punk, synthetic quality of New Wave that has always fit comfortably like a glove for me. Whether it was OMD, Human League, Eurythmics, Howard Jones, Thompson Twins, Thomas Dolby, New Order, Kraftwerk, Joy Division, The Cure, Siouxsie and the Banshees, The Creatures, Depeche Mode, Yaz, Erasure, Naked Eyes, Men Without Hats, When in Rome, Alphaville, a-ha, Dead or Alive, Pet Shop Boys, Simple Minds, The Fixx, Wang Chung, ABC, U2, Big Country, Information Society, Ultravox, and many others, they all hold a special place for me.

OMD came later, as they did not become popular in the U.S. until about 1985, when "Crush" was released and "So In Love" climbed the charts. In fact, my first OMD album was 1986's "The Pacific Age" when I was 14. It wasn't until the early 2000's that I actually completed my OMD catalog and discovered their earlier works (I obviously had some select tracks from their early albums on their numerous compilation albums, but never a complete picture).

I'm not sure why OMD weren't as big as some other New Wave artists of the day. They had all the right ingredients to have more than "So In Love", "If You Leave", "(Forever) Live And Die" and "Dreaming" be their only true hits in the U.S. But that is history, isn't it? Hindsight is 20/20 and all.

So when, in 2010, they released their first new album of all new material in 14 years, I could not have hoped for more. When I heard they were going to continue to make new music, I thought it was terrific that they weren't just cashing in on the New Wave revival craze of the past decade, but that they were actually going to carry on as a band--something many New Wave artists have not truly done.
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