OMD – Dazzle Ships Turns 35

omddazzleships slide - OMD - Dazzle Ships Turns 35

OMD – Dazzle Ships Turns 35

If you leave, don’t leave now
Please don’t take my heart away…

Of course, anyone who was a cool, preppy New Wave enthusiast, especially in the genre’s peak in the 1980s, could instantly sing those unforgettable lines in his or her head. Most likely, they might have even watched Pretty in Pink a number of times already – the 1986 film whose New Wave-dominated soundtrack included that quintessential song by the English band known as Orchestral Manoeuvres in the Dark, or OMD for short. However, to those who are familiar with the English Synthpop/New Wave band only for their singles that made them commercially popular in the 1980s, like “Enola Gay,” “Secret,” “(Forever) Live and Die,” “Souvenir,” and the aforedescribed song, “If You Leave,” the band’s more experimental-oriented albums might throw them off. Nonetheless, this other side of OMD is as important as their Pop-leaning predisposition, for it sets them apart from many other artists in the genre whose sense of direction is geared towards only the spotlight of the mainstream and nothing else. Speaking of OMD’s avant-garde nature, nothing is more apt to revisit to be able to better understand the music of the pioneering band than 1983’s Dazzle Ships, which turned 35 a few days ago.

Released on March 4, 1983, on Telegraph Records, OMD’s fourth album was a major departure from the polished and radio-friendly sound of its hugely successful predecessor. It was remarkable for its use of sound collages, shortwave radio recordings, and non-romantic themes like the Cold War (the post–World War II tension between the then Soviet Union and the United States) and Eastern Bloc (the political unrest in Central and Eastern Europe). Although, of course it had also its light moments.

Dazzle Ships opened with “Radio Prague,” which was practically just a short, undulating sound effect that preluded the proper track – the album’s first single, “Genetic Engineering,” which, in fairness, was hook-laden and very catchy, complete with an interesting lyrical theme. The ensuing “ABC Auto-Industry” was a prime example of what may be described as an odd yet sensible collage of factory sounds and vocal harmonies. Another Pop moment came next in the form of the vibraphone-led “Telegraph,” which carried a controversial theme – Bandleader Andy McCluskey’s “strong feelings against politics and religion at the time.” Then there was the short, monotonous semi-instrumental stomper “This Is Helena;” followed by the cinematic, graceful lament of “International.”

The title track was onomatopoeic – mimicking the sound of dazzling ships and conjuring images of coastlines and docking bays. This was followed by the strange and beautifully titled, minimalist ballad “The Romance of the Telescope.” Another sentimental and starry-eyed song, predating the style that became known as Dreampop, played next – “Silent Running”- where McCluskey’s voice both soared and cracked in pained agony.

An obvious tribute to Kraftwerk, “Radio Waves” was Synthpop at its best – sunny, poppy, melodic, and dancey. After the experimental trip of “Time Zones,” OMD finally moored their Dazzle Ships with the melancholic, yet mellifluous and metronomic “Of All the Things We’ve Made.”

Formed in 1978, in Wirral, Merseyside, England, Orchestral Manoeuvres in the Dark are currently comprised by Co-founders Andy McCluskey (vocals, bass guitar) and Paul Humphreys (keyboards, vocals) along with Martin Cooper (various instruments) and Stuart Kershaw (drums). In their on-and-off activity, they have released 13 studio albums, from 1980’s self-titled debut to 2017’s The Punishment of Luxury. While it is bountiful with memorable upbeat dance floor favorites and unforgettable synthesizer-oriented New Romantic ballads, OMD’s discography is also well-adorned with various masterpieces of abstract and surrealist art, whose intent and expressionism harked back to the roots of Electronic music, particularly the early works of Brian Eno (Another Green World) and Kraftwerk (Radio-Activity). Ultimately, in diving into the non-commercial sonic ocean of Orchestral Manoeuvres in the Dark, the 35-year-old Dazzle Ships remains to be a good port to start with.

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aLfie vera mella
aLfie vera mella
[email protected]

Born in 1971, in Metro Manila, Philippines, aLfie vera mella is a healthcare worker, singer/songwriter, and editor/writer. He was the frontman of the ’90s-peaking Philippine Alternative Rock / New Wave band Half Life Half Death, which released a full-length album and several singles on Viva Records. aLfie worked at Diwa Scholastic Press as an editor/writer of academic textbooks and supplementary magazines, focusing on Science & Technology and English Grammar & Literature.In 2003, aLfie migrated to Canada; he has since been living in Winnipeg, Manitoba. He works full-time at a healthcare institution, while serving as the associate contributing editor of Filipino Journal—a local community newspaper in Winnipeg—tackling Literature, Languages, Cultures, Lifestyles, and Music.As a means to further his passion for music, he formed the band haLf man haLf eLf. He now performs with another band, The Psychedelics.aLfie has been a music journalist since the mid-’90s for various print magazines as well as websites. He began writing album reviews for CrypticRock in 2015.In 2016, aLfie published Part One (Literature & Languages and Their Cultural Significance) of his Essay Series, Can You Hear the Sound of a Falling Leaf? His next planned literary endeavor is to publish the remaining parts of the anthology and his works on Poetry, Fantasy Fiction, and Mythology.In his spare time, he enjoys reading books and listening to music. He participates at various community events; and he explores the diverse cultural beauty of Canada whenever his schedule permits it.aLfie is a doting and dedicated father to his now ten-year-old son, Evawwen.

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