What was the last album you listened to?

Artist:  Orchestral Manoeuvres in the Dark
Album: Architecture & Morality
Genre: Synthpop
Year: 1981
Standout tracks: New Stone Age, She's Leaving, Souvenir, Sealand, Joan of Arc, Joan of Arc (Maid Of Orleans), Georgia and The Beginning And The End

I did not know of this group until I picked up the 1001 Albums You Must Hear Before You Die back in winter of 2007, however a very impressive and richly detailed special magazine about the british synthpop scene of the 1980s was probably the one which really got a hold of my interest as it contained some very interesting and well written reviews and stories about their albums and the making of them.

As a result I headed down to the city and picked up a few of their records in a music store, which was to be Architecture & Morality (1981) and Dazzle Ships (1983).
I did spend most time on Architecture & Morality, as it for me at the time had what I would describe as the bigger songs (hits) but also because I just could not get into Dazzle Ships right away, as I had with the former release. However, I did like what I heard and there was not doubt that these two albums surely contained some fantastic material but it was just not the right time or place for me to spend more time with them, and so I kind of put them on "ice" for a long time.

That period of "time" ended up as over a decade, and in fact beside maybe going through some of the songs here and there, I have not listened to any of them since 2007, and since I am already on a mostly successful journey into the 70s and early 80s synthpop scene, I could not miss out the opportunity to have a go at them, once more.

01. The New Stone Age - Opens up with an "crackling" sound closely followed by some freezing and very "windy" synth noises before erupting into a fantastic song.
This was the first OMD cut I had heard, and I was surely not expecting anything like that. Still, it was a great surprise and one hell of a opening act.

02. She's Leaving - Pretty much the complete opposite of the album opener, as that one was very "cold", this next one however is a beautifully and rich number, filled with a sweetness and warmth to it. Ashamed to say so, but this song I have almost forgotten about. But it makes it even better hearing it once again and falling in love with it. 

03. Souvenir - This one I sure do know as it stands rightly so among some of the most beautiful and classic british synthpop tunes made and one which features the more fragile and downbeat vocals that of Paul Humphreys and where the mid section part and the lyrics:
 
"All I need is co-ordination
 I can't imagine, my destination"

have always given the me chills, but in a good way.
An incredible piece of music and a surprisingly warm and sweet melody which is a long shot away of the more "cold" and mechanical sounds coming from many of the other british synthpop acts of that era. 

04. Sealand - The longest track on the album and one which I also know very well of, as it was to be my favorite of theirs.
A hauntingly beautiful number that opens up with a slow but very strong and emotional melody which just keeps on building onwards.
Powerful music, indeed. About halfway through, Andy McCluskey comes in and deliver some fine lyrics as it then turns into an experimental, almost industrial sounding number which I think works very well in its favor.

05. Joan of Arc - Side 2 starts up with one of two songs that was written about the french lady with the same name, and is without doubt the most upbeat and danceable of them both. Once more, I am taken back at how great the album sounds and how rich and warm the melodies feels. 

06. Joan of Arc (Maid of Orleans) - Another number I know well, and one I have loved since the moment I first heard it.
A song which incredibly enough included the almost 1 minute of "experimental" sounds before the song "started" as an single, and I am glad OMD got it their way as the impact coming shortly after in one of their most beautiful melodies, would somehow feel slightly "off" without the original album intro.
I seem to keep on repeating myself over and over, but this is really beautiful music and again it amazes me of how fantastic it all sounds, as this is something which almost feels more like synth-prog than synthpop. 

07. Architecture and Morality - The title track is the only instrumental from the album and probably the most experimental one as well.
I sure do feel some strong Kraftwerk influence in this one, and that is rarely a bad sign.
Ok, not exactly the most upbeat or melodic moment on this record, but it is still an interesting and well produced cut which do not go on for far too long. However, it is not something which I would spend too much time on, or listen to that often. Interesting is probably the best thing I can say of it, but that's about it.

08. Georgia - Another irresistible and very melodic driven pop song, which in some ways do feels like it could fit right in on Dazzle Ships but I am glad they found a place for it here.

09. The Beginning and the End - A solid album closer and while I would have liked to see it go on a for a few minutes more, it is still only a little nitpicking from my side. 

I really wanted to give a perfect score to this fantastic album but again, I very seldom hand out that kind of ratings and for me that means not always perfection in every way, but  that there is not one song or cut that I would skip or which feels like a "filler", even if the rest of the songs are close to perfect, that last one usually sticks out and never in a good way and for me the title track is something I feel should be either used alongside one of the other songs, such as the more experimental stuff on some of the other track, than instead going on for almost 4 minutes of, well just taking up time and where I end up with absolutely no emotional effect, expect that I just want it to be over. 
I did however cheat a little as I included 2 songs which was "bonus" material on the The Golden Age of Wireless (1982) album by Thomas Dolby, and as much as I want Architecture and Morality to be there as well, I cannot ignore that one "annoying" little number which for me drags the album down a little. 

9,5/10