Orchestral Manoeuvres in the Dark (OMD) will mark the 40‑year milestone of their breakthrough LP “Crush” with an expanded reissue due 10 October 2025 on UMR/Virgin. “The deluxe edition is “a wonderful opportunity for us to re‑assess the album,” singer and bassist Andy McCluskey says.

“Crush” was originally released on 17 June 1985 and produced by Stephen Hague. Featuring the singles “So In Love” and “Secret,” the record reached No. 13 on the UK Album Chart and gave OMD their first Billboard Hot 100 hit. The 2025 reissue will be available as 2CD, 2LP black or coloured vinyl and digital editions; an exclusive clear‑vinyl 2LP is offered through the band’s UK webstore.

The collection has been remastered from the original analogue tapes and contains seven previously unreleased tracks, including “Wheels of Steel”, “Lana Turner v.1”, “Hold You (Rough)”, “Choral”, “Lana Turner v.2”, “Drift (Demo)” and “All or Nothing (Demo)”. The 2CD edition pairs the original album (“So In Love”, “Secret”, “Bloc Bloc Bloc”, “Women III”, “Crush”, “88 Seconds In Greensboro”, “The Native Daughters of the Golden West”, “La Femme Accident”, “Hold You” and “The Lights Are Going Out”) with a second disc of rare material.

Alongside the unheard songs, this disc includes B‑sides and remixes such as “Concrete Hands”, “Firegun”, “Maria Gallante”, “Drift”, “Secret (Extended Mix)”, “So In Love (Special American Dance Remix)”, “So In Love (Extended)”, “La Femme Accident (12″ Mix)” and “Concrete Hands (Extended)”. All previously unreleased selections were mixed by OMD co‑founder Paul Humphreys.

Each format includes a booklet featuring rare photographs and liner notes by journalist Jason Draper, drawn from recent conversations with McCluskey. McCluskey says the period around “Crush” was marked by intense touring and studio pressure, yet he remains proud of the album’s lyrical themes and “confidence and energy”.

The deluxe editions are available to pre‑order now via the band’s UK webstore (including the clear‑vinyl 2LP). Fans in the United States, Canada and Mexico can order from OMD’s USA webstore for local shipping rates.

About Orchestral Manoeuvres in the Dark (OMD)

OMD formed in Meols, Merseyside, England, in 1978 when teenagers Andy McCluskey (vocals/bass) and Paul Humphreys (keyboards/vocals) moved on from their earlier project the Id. The pair combined an experimental, minimalist ethos with pop melodies, helping to pioneer the synth‑pop genre influencing bands like Depeche Mode, Pet Shop Boys, …

They released their debut single “Electricity” in 1979, initially distributing it independently before signing to Dindisc/Virgin in 1980.

Through the early 1980s the band gained popularity with the anti‑war song “Enola Gay” and the album “Architecture & Morality”, which produced three hit singles. A shift toward a more radio‑friendly sound on 1984’s “Junk Culture” paved the way for U.S. success; the following year’s “Crush” cemented that breakthrough. After Humphreys, keyboardist Martin Cooper and drummer Malcolm Holmes departed in 1989, McCluskey continued OMD with a new line‑up until the group disbanded in 1996. McCluskey then co‑founded pop trio Atomic Kitten, while Humphreys formed the duo Onetwo.

OMD reunited in 2006 with McCluskey, Humphreys and Cooper, later adding drummer Stuart Kershaw. The reformed group revisited their early experimental sound while continuing to release new albums and tour internationally. Over their career, OMD have sold more than 40 million records and achieved 14 top‑20 albums in the UK.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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The British synth-pop group Orchestral Manoeuvres in the Dark (OMD) have reissued their 1984 album “Junk Culture” in a newly remastered vinyl edition, released today.

The reissue is pressed on 180‑gram black vinyl with the source material newly remastered from the original ½ inch reels and cut at half speed by Miles Showell at Abbey Road Studios.

The edition retains the original 10-track listing:

1. Junk Culture
2. Tesla Girls
3. Locomotion
4. Apollo
5. Never Turn Away
6. Love and Violence
7. Hard Day
8. All Wrapped Up
9. White Trash
10. Talking Loud and Clear

The new version follows previous half-speed reissues of OMD’s earlier albums “Architecture & Morality” and “Dazzle Ships.”

About OMD’s “Junk Culture”

Originally released on April 30, 1984, by Virgin Records, “Junk Culture” marked a stylistic shift for OMD following the commercial and well-receivced 1983 album “Dazzle Ships”. Co-produced with Brian Tench, the album moved toward a more mainstream pop sound while integrating Latin, funk, and Caribbean influences.

“Junk Culture” became the band’s fourth consecutive Top 10 album in the UK and produced several charting singles, including “Locomotion”, “Tesla Girls”, and “Talking Loud and Clear.”

Frontman Andy McCluskey referred to the album as “the catchiest, poppiest album [OMD] ever made.”

About Orchestral Manoeuvres in the Dark (OMD)

Orchestral Manoeuvres in the Dark (OMD) are an English electropop band formed in 1978 in Meols, Wirral, Merseyside, by co-founders Andy McCluskey (vocals, bass guitar) and Paul Humphreys (keyboards, vocals). Pioneers of the synth-pop genre, OMD blended experimental electronic sounds with pop sensibilities, helping shape the UK’s synth-pop movement and influencing artists like Depeche Mode, Pet Shop Boys, and Erasure. Their innovative approach introduced the “synth duo” format to British music, combining minimalist electronic textures with melodic hooks.

OMD emerged from the ashes of their earlier band, The Id, with McCluskey and Humphreys initially experimenting under the side project VCL XI, inspired by German electronic pioneers Kraftwerk. Adopting the deliberately name Orchestral Manoeuvres in the Dark (chosen over the tongue-in-cheek alternative “Margaret Thatcher’s Afterbirth”), they debuted live in October 1978 at Liverpool’s Eric’s club, accompanied by a tape deck nicknamed Winston. Their first single, “Electricity” (1979), was released on Factory Records.

Their self-titled debut album (1980) brought a minimal synth-pop style with war-themed lyrics. The re-recorded single “Messages” became their first UK hit. OMD’s breakthrough came with their 1980 anti-war anthem “Enola Gay”, a global hit from their second album, “Organisation”. Their third album, “Architecture & Morality” (1981), is considered a landmark, yielding three international hits: “Souvenir”, “Joan of Arc”, and “Maid of Orleans”. However, their experimental 1983 album “Dazzle Ships” polarized fans and critics, nearly derailing their career despite later being hailed as a “tortured masterpiece.”

After “Dazzle Ships”, OMD shifted toward a more accessible pop sound with albums like “Junk Culture” (1984), “Crush” (1985), and “The Pacific Age” (1986). Their 1986 single “If You Leave”, featured in the film “Pretty in Pink” cemented their place in the US market. By 1989, creative differences led Humphreys, drummer Malcolm Holmes, and saxophonist Martin Cooper to leave, forming The Listening Pool, while McCluskey continued under the OMD name, releasing the successful “Sugar Tax” (1991) with new musicians. The band disbanded in 1996, with McCluskey focusing on songwriting for acts like Atomic Kitten.

OMD reformed in 2006 with the classic lineup of McCluskey, Humphreys, Holmes, and Cooper, returning to their experimental roots. Albums like “History of Modern” (2010) and “English Electric” (2013) revitalized their sound, with singles like “Metroland”.

Celebrating over 40 years, OMD have sold over 40 million records, with 15 million albums and 25 million singles. Their most recent album is 2023’s “Bauhaus Staircase”.

Some interesting facts:

• Their first synthesizer was bought from McCluskey’s mother’s mail-order catalog for £7.76 a month, paid with dole money.
• The “Electricity” single inspired Vince Clarke to pursue electronic music, shaping the sound of Depeche Mode and Erasure.
• A red telephone box in Meols, referenced in their song “Red Frame/White Light,” received a blue plaque in 2019 for their 40th anniversary.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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Austin-based post-punk / synth-pop artist Holy Wire has debuted a new single, “The Ending Of An Age“, which is available across all digital streaming platforms today. The single comes accompanied by a music video directed by Faiza Kracheni. The single can be found on the new album of the same name “The Ending Of An Age”, also out today, June 5, 2024.

According to Holy Wire, the song “The Ending Of An Age” is the only entirely fictional one on the record, recounting a story of lovers trying to survive through an extinction event, coming to terms with death, and the end of humanity. The whole was partly inspired by Lars Von Trier’s “Melancholia”.

Earlier this spring, in coordination with the album announcement, Holy Wire released the single “Lost”. That song was also released with a music video.

Recorded in both Brooklyn, NY and Austin, TX, the album was written and recorded by Alain Paradis. The album and additional synths were produced & recorded by Abe Seiferth, whose credits include Nation of Language, Guerilla Toss, Underground System, among others.

About Holy Wire

After moving to Austin in 2021, Paradis revived a solo project under the name Holy Wire, bringing together a rotating cast of musicians for live performances. The band’s music blends nostalgic 80s post-punk and synth-pop elements with modern influences, creating a unique sound that recalls artists like The Smiths, Orchestral Manoeuvres in the Dark, and Black Marble​.

Holy Wire has released several singles and recently announced their debut album “The Ending of an Age”, produced by Abe Seiferth and mastered by Joe Lambert. The album features tracks that explore themes of loneliness, nostalgia, and acceptance, all set against a backdrop of melodic synths and rhythmic beats​. Notable songs include “Dream” and “Worse for Wear”, the latter accompanied by a music video directed by Evan Crowley​.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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(Photo via OMD) OMD (Orchestral Manoeuvres in the Dark) have announced the North American dates for the North American leg of their Bauhaus Staircase Tour. The Glaswegian six-piece Walt Disco will once again be joining as their special guests for this leg of the tour, after being the opening act for the band in Europe.

OMD is promoting their latest album “Bauhaus Staircase“, the fourteenth studio album by the English electronic band. Released on 27 October 2023 by White Noise Records (and by 100% Records in the UK and Ireland), it is their first album in six years since “The Punishment of Luxury” (2017). The record was largely inspired by world politics during the late 2010s and early 2020s. Its release was preceded by three singles: the title track, “Slow Train”, and “Veruschka”.

Tickets for the North American leg of the Bauhaus Staircase Tour will go on sale on Friday at 10am local time.

OMD tour dates

EU dates

• Tuesday 27 February, 7:00 Pm: Belfast, Uk – Ulster Hall
• Wednesday 28 February, 7:00 Pm: Dublin, Ireland – 3Olympia Theatre
• Friday 1 March, 6:30 Pm: Manchester, Uk – O2 Apollo Manchester
• Saturday 2 March, 6:30 Pm: Manchester, Uk – O2 Apollo Manchester
• Sunday 3 March, 6:30 Pm: Liverpool, Uk – M&S Bank Arena Liverpool
• Tuesday 5 March, 6:30 Pm: Leeds, Uk – First Direct Arena
• Wednesday 6 March, 6:30 Pm: Edinburgh, Uk – Usher Hall
• Friday 8 March, 7:00 Pm: Glasgow, Uk – Glasgow Royal Concert Hall
• Saturday 9 March, 6:30 Pm: Newcastle Upon Tyne, Uk – O2 City Hall, Newcastle
• Sunday 10 March, 7:30 Pm: Sheffield, Uk – Sheffield City Hall
• Tuesday 12 March, 7:30 Pm: Leicester, Uk – De Montfort Hall
• Wednesday 13 March, 7:00 Pm: Nottingham, Uk – Royal Concert Hall Notts
• Friday 15 March, 6:30 Pm: Wolverhampton, Uk – Wolverhampton Civic Hall
• Saturday 16 March, 6:00 Pm: Swansea, Uk – Swansea Arena
• Sunday 17 March, 7:00 Pm: Southend On Sea, Uk – Southend Cliffs Pavilion
• Tuesday 19 March, 7:00 Pm: Bristol, Uk – Bristol Beacon
• Wednesday 20 March, 7:00 Pm: Oxford, Uk – New Theatre Oxford
• Friday 22 March, 7:00 Pm: Portsmouth, Uk – Portsmouth Guildhall
• Saturday 23 March, 7:30 Pm: Ipswich, Uk – Ipswich Regent Theatre
• Sunday 24 March, 6:30 Pm: London, Uk – The O2
• Tuesday 26 March, 7:30 Pm: Brighton, Uk – Brighton Dome
• Wednesday 27 March, 6:30 Pm: Eastbourne, Uk – Winter Gardens

South Africa

• Thursday 18 April, 9:00 Am: Cape Town, South Africa – Green Point Stadium
• Saturday 20 April, 9:00 Am: Johannesburg, South Africa – Marks Park

North America

• Wednesday 11 September, 7:00 Pm: Vancouver, Bc, Canada – Orpheum Theatre
• Thursday 12 September, 7:00 Pm: Seattle, Wa, Us – Moore Theatre
• Friday 13 September, 7:00 Pm: Portland, Or, Us – Roseland Theater
• Sunday 15 September, 7:00 Pm: Oakland, Ca, Us – Fox Theater
• Tuesday 17 September, 7:00 Pm: Las Vegas, Nv, Us – House Of Blues – Las Vegas
• Thursday 19 September, 9:00 Am: Los Angeles (La), Ca, Us – Greek Theatre
• Friday 20 September, 8:00 Pm: Los Angeles (La), Ca, Us – Greek Theatre
• Saturday 21 September, 7:00 Pm: San Diego, Ca, Us – Balboa Theatre
• Sunday 22 September, 7:00 Pm: Salt Lake City, Ut, Us – The Union Event Center – Salt Lake City
• Wednesday 25 September, 7:00 Pm: Denver, Co, Us – Paramount Theatre
• Friday 27 September, 7:00 Pm: Dallas, Tx, Us – Majestic Theatre
• Saturday 28 September, 7:00 Pm: Austin, Tx, Us – Austin City Limits Live At The Moody Theater
• Sunday 29 September, 7:00 Pm: Houston, Tx, Us – Bayou Music Center
• Friday 4 October, 7:00 Pm: Minneapolis, Mn, Us – First Avenue
• Saturday 5 October, 7:00 Pm: Chicago, Il, Us – Riviera Theatre
• Sunday 6 October, 7:00 Pm: Royal Oak, Mi, Us – Royal Oak Music Theatre
• Tuesday 8 October, 7:00 Pm: Toronto, On, Canada – History
• Wednesday 9 October, 7:00 Pm: Cleveland, Oh, Us – House Of Blues – Cleveland
• Thursday 10 October, 7:00 Pm: New York (Nyc), Ny, Us – Terminal 5
• Saturday 12 October, 7:00 Pm: Huntington, Ny, Us – The Paramount
• Sunday 13 October, 7:00 Pm: Boston, Ma, Us – Citizens House Of Blues – Boston
• Tuesday 15 October, 7:00 Pm: Glenside, Pa, Us – Keswick Theatre
• Wednesday 16 October, 7:00 Pm: Washington, Dc, Us – Lincoln Theatre
• Friday 18 October, 7:00 Pm: Atlanta, Ga, Us – Buckhead Theatre
• Saturday 19 October, 7:00 Pm: Orlando, Fl, Us – The Plaza Live
• Sunday 20 October, 7:00 Pm: St Petersburg, Fl, Us – Jannus Live

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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Update: Geir Jenssen has co-written two of the tracks on “Radiant Green”.

(Photo by Knut Åserud) Good news from Norway as the cult band Bel Canto will release an all new album on April 26th, called “Radiant Green“. “Radiant Green” comes after more than two decades of studio silence since their last album “Dorothy’s Victory” already dates from 2002.

“Radiant Green” will be out digitally and on CD and double vinyl. The material was mixed by Matias Tellez and Gilles Martin. For Martin it means his comeback after having produced the first 3 albums of the band, the last being “Shimmering, Warm & Bright” from 1992. Martin’s production helped establish Bel Canto’s distinctive sound in the early days.

Here’s a first teaser which the band released.

The band also released the cover artwork for the new album.

About Bel Canto

Bel Canto, originally a trio but now a duo, features Anneli Drecker as the lead vocalist and was initially under the Crammed Discs label.

The ensemble originated in Tromsø in 1985, established by Geir Jenssen (handling synthesizers and programming), Nils Johansen (playing synthesizer, violin, bass, and guitar), alongside vocalist Anneli Drecker. Their musical influences span a wide range, including Orchestral Manoeuvres in the Dark (OMD), David Bowie, artists from 4AD, Clannad, Kate Bush, Laurie Anderson, David Sylvian, Yellow Magic Orchestra (YMO), Ryuichi Sakamoto, Depeche Mode, and the Blue Nile.

In 1986, the trio relocated to Brussels, releasing their debut album, “White-Out Conditions,” through Crammed Discs a year later. Following their second album, “Birds of Passage” (1990), Jenssen departed to pursue a successful solo career as Biosphere, leaving Drecker and Johansen to achieve a commercial breakthrough with “Shimmering, Warm and Bright” in 1992. By this time, their music had transitioned from ethereal dream electropop to a synth-based pop sound enriched with world music elements.

Anneli Drecker occasionally paused her involvement with Bel Canto to focus on solo projects and collaborations with other artists and bands, including Röyksopp and a-ha, in addition to her work in film and theater. Nils Johansen, meanwhile, composed music for film and television and continued his involvement with his other band, Vajas.

In 2010, following a reunion concert in Oslo, Side-Line interviewed the original members, who revealed they were working on a new album, although tensions were apparent. Ultimately, Geir Jenssen left the band once more, and the project was left unfinished.

A previously unreleased track from 1988, “Flowerbeds,” surfaced in 2009 on the Norwegian compilation “Maskindans: Norsk synth 1980–1988,” released by Hommage Records. In 2017, Bel Canto graced the stage at Øyafestivalen in Oslo, delivering a performance that spanned their hits in a set lasting nearly an hour. During an interview, Drecker expressed the band’s enthusiasm for more live performances and the potential for new music.

In June 2022, Anneli Drecker and Nils Johansen shared news of their ongoing work on a forthcoming Bel Canto album.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

side-line.com

Out via Amour Records is solo project by Marsheaux member Sophia Sarigiannidou. Now active as Aspra her debut single “Velvet/Anoint” now comes re-released as a limited edition 7 inch single (300 copies) on white vinyl. The set also holds a (folded) A2-sized colour poster, the whole comes inside an outer plastic bag.

“Velvet” is a rework of the shoegaze track by Big Pink and was released already last year. “Anoint”‘,” is originally by The Field Mice.

Both tracks were written and recorded during the lockdown at Sarigiannidou’s studio in Athens, Greece. This is the first ever new material by (one half of) Marsheaux, after their split. The Greek electro girl duo released their fifth (and last) studio album “Ath.Lon” in June 2016.

Aspra recently also collaborated with the veteran electronic composer Lena Platonos, resulting in the releases of “Markos” and “Kymata”.

In related news, Sarigiannidou also curated the release “Play for Tomorrow Vol. 1” holding a collection of rare and obscure post-punk and minimal synth pop tracks from the period 1977-1985.

Tracklist “Play for Tomorrow Vol. 1”

1. The Gadgets – U.F.O. Report N°1 (1980)
2. Michael Rother – Karussell (1977)
3. Amin Peck – Love Disgrace
4. Car Crash Set – Fall From Grace (1983)
5. Alan Burnham – Music To Save The World By (1981)
6. Blaine L. Reininger – Mystery and Confusion (1984)
7. Orchestral Manoeuvres In The Dark – Of all the Things we’ve made (1981)
8. Ruth – Polaroid/Roman/Photo (1985)
9. Chrisma – Black Silk stocking (1977)
10. Buggles – On TV (1981)
11. Electronic Circus – Direct Lines (1981)
12. I Start Counting – Still Smilling (1985)
13. Chris & Cosey – October Love Song (1983)
14. Ultravox – Just for a Moment (1978)

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

side-line.com

OMD is set to debut the music video for “Veruschka,” a sneak peek from their upcoming album “Bauhaus Staircase,” tonight at 7pm UK time / 8pm CET on YouTube. Andy McCluskey will be live online, providing commentary during the video premiere and interacting with fans.

The band’s forthcoming studio album, “Bauhaus Staircase,” is slated for release on October 27th, available in CD, vinyl, cassette, and digital formats. In a recent interview, McCluskey hinted that this could potentially be OMD’s final studio album, although that remains to be confirmed.

OMD has also previously released a music video for “Slow Train,” which you can watch below.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

side-line.com

(Photos from the personal archives of Jean-Marc Lederman) This article draws from various updates posted by Jean-Marc Lederman (The Weathermen, Kid Montana, Jules et Jim, Ghost & Writer, Lederman / De Meyer, Rohn-Lederman…) on his Facebook profile, which we’ve consolidated into a comprehensive piece. This compilation offers a profound understanding of the workings of the indie music industry during its ‘golden era’. Additionally, it provides specific insights into Mute Records, the label of Daniel Miller, as numerous individuals, including Fad Gadget, mentioned in this article have significant associations with the iconic UK label.

Digital Dance (1978-1979) / Daniel Miller

The year was 1979 and I had just quit, well I was sacked tbh, from Digital Dance , the first band I was in.

We were doing post punk/cold wave/new wave stuff and it was really exciting. I started doing bass with them on a..ARP 2600 whci I had bought working on building sites, yeah, far too much of an overkill I agree. We were rehearsing here and there but did a time at the famous Plan K where we supported Joy Division. Actually, that day I went to pick up Ian and Bernard Summers at the very seedy hotel they were in and I drove them to the gig.

They were laughing like kids, you know, young musicians being happy to play abroad. It was such a cold day, everyone was freezing and Ian even came close to Stefan Barbery (Digital Dance guitar player) who was close to an electric heater to tell him “Well, I guess this is why they call it Cold Wave…”

We also opened to Magazine and Fisher-Z and it was becoming too much of a routine for me: the Brussels band that does all the new wave support slots but hasn’t even got a decent recording contract…

Oh, we had one, and they made us record our very fast cover version of Kraftwerk’s “RadioActivity”. At the end of the session, they made me do some terrible sound effects, hoping to catch on the fad of the moment, and it just ruined the whole song. Tells you that if a thing sounds bad and contrived and cheesy on monday, still sounds the same the day after and 40 years later. Sorry Stefan, my fault.

Then Phil Wauquaire (whom I had met from Streets, the punk band he was in and I actually played with them live on a couple of songs with a…AKS, another overkill) joined us and I played synth with a Korg MS20 then with a Yamaha CS50M who weighted like half an olifant after a drinking binge.

Anyway, after a couple of gigs with Digital Dance at the Gibus in Paris, i was let go (which was fine, really). Two days later, I call Daniel Miller whom I had met in London a few months ago. Digital Dance had been foolish and crazy enough to believe that if you go to London you can pretty much be sure you’ll find a gig. All we did was rehearsing (below Beggar’s Banquet where I met Peter Kent from the future 4AD label) and waiting in our hotel off Kings Road. Anyway, we were trying to get Geoff Travis from Rough Trade to listen to our demo and he stopped it 20 seconds in and tell us: if you go to “Better Badges” now, you’ll see a man called Daniel Miller (from label MUTE RECORDS) and maybe he’ll like your stuff….

So, off we went to Better Badges and there we met Daniel, with a green basket full of The Normal badges.

Daniel and I hit directly like if it was an “International Conference Of Synths Fanatics”. I mean: synths weren’t as known or popular then as they were then. It was still a relatively rare sight on stage or in gigs or in bands that weren’t poppy or progrock. No, we’re talking new industrial scene in the UK: noisy and determined, not minimoogs played by long haired musos…

So, Daniel and I exchanged phone numbers and we traded letters and phone calls here and there. So, remember, I’m sacked from Digital Dance and I then realize that if I wanted to really go anywhere in music, Brussels isn’t the place to be and I must move to where things are happening. At that time, London was THE center of music in Europe and I decide that I want to try my luck and the two major chords I know there. I pick up the phone and call Daniel, asking him if he knew any musician that would be interested in moi ?

Yeah, I know someone, he’s on my label now, he’s looking for musicians, call him… His name is Frank Tovey….

Frank Tovey / Fad Gadget #1 (part 1)

The audition was simple: we didn’t even play a note or try to do a song, we just sat and drank coffee and laughed a lot. But there was no try-out, no keyboard or synths tickering… And that’s how Philippe Wauquaire and I became members of Fad Gadget #1 for a few months in 1980: a simple coffee cup meeting and an unmistakable good chemical feeling between us. Frank had played a few gigs on his own but wanted musicians around him so he could concentrate a bit more on being a little bit less concentrated if you know what I mean.

There was Frank: clever, astute, open, funny, with a lot of wit doubled with a good dose of sarcasm: totally my alley. But he knew what he wanted musically, there was no doubt about what he wanted to sound like. The plan was: rehearse at my place in Brussels, a first gig here, then play a few gigs as support for Deutsche Amerikanische Freundschaft in Germany and going to tour the UK as support for The Monochrome Set.

So, we start rehearsing in my attic: Frank on vocals, Pearl Syncussion and distorted electric piano, Phil on Fender bass and Korg MS 20 and myself on handling the cassette player (each song had its drums/rhythmic parts on a single cassette and I would feed the machine with a new cassette every song) and my 4 notes polyphonic, Yamaha CS 50M. Again, an overkill.

After a few hours of rehearsals, we have our first gig: support-act for Orchestral Manoeuvres In The Dark. We are all extremely nervous but the gig goes well: Frank doesn’t go into the mad behaviours he’s known for yet but you can see he’s holding up something big inside, something is boiling there. After the gig, we proceed to the German border and sleep in a motel there. In the morning, I’m being handed an envelope with my per diem (every day allowance a musician gets when on tour): it is the first time someone hands me money for doing something I love doing: playing music. I couldn’t believe it and I took a second piece of bacon and refilled my coffee cup. We are about to go to Dusseldorf to play The Ratinger Off as support for Deutsche Amerikanische Freundschaft.

Something started to happen at the Ratinger Hof: maybe it was the roughness of the place, the German lager (naaaaah) or the history of the place but this thing Frank had inside him but it slightly came out at that gig. See, there was an animal inside Frank, and that animal was as extrovert as Frank was introvert: Frank was then frontal and loud and, yes, obnoxious but in a gentle and friendly way but he wasn’t the shy Frank. In response to Frank’s changing live attitudes, Phil and I started to play loser and noisier and wilder (and there were far more bump notes on my part) but the band started to make sense.

The crowd wasn’t there for us, they were there for what would later become DAF, but the reaction was good and people liked us. I recall Frank and I going out in front of the place and that guy comes out dressed as a mod, full parka mode with a patch “Remember Brighton” which made Frank laughed a lot, people were out there with their beer and… Omg what am I saying: IT JUST FELT GREAT.

Deutsche Amerikanische Freundschaft at the time was a five piece band and they were fun and chaotic. You couldn’t miss Chris Haas, the synth guy, who was classy and special. He had a very specific body language when playing live: he would stand back, have a smile and just come here and there to play a few notes…He is the real grandfather of EBM as he introduced the famous 1/16th bass line (Korg MS 20 and SQ 10 sequencer) that will be the bone of so many records later on.

The morning after, we went out to the next gig. Daniel, Phil, Chris and myself embarked in my mum’s yellow Civic and we went down the motorway, singing loudly “Fahn Fahn Fahn Auf Der Autobahn” laughing and laughing… I guess Chris must have done that thousand of times before but, for Daniel, Phil and I it meant something different: we were doing it. We were travelling in Kraftwerk’s motherland and going to play electronic music there: it was immense.

We only played one more gig in Germany and then the whole tour was somehow cancelled… Roland Beelen: I saw the animal in Frank I guess a few months later at the Paasfestival in Koninfshooikt (organized by my friend Guy Vanwoensel) I was a stagehand there. Frank smashed a crucifix that was hanging above stage in the hall (parochiezaal)with his magic stick. The whole village was in shock when the news spread the next morning. The vicar organized a special service the next day to please the smashed fallen Christ ! they say he resurrected a few weeks later! All end, good end !

Frank Tovey / Fad Gadget 1980 (part 2)

Something had clicked in Frank after a few gigs: it’s like he had been showed by practice that it could work, that the songs were good, the voice was good but even more than that his FG personnae and ideas had an impact on the crowd. He would go out, do his thing, see people respond to his songs, lyrics and theatrics and then he would retrieve after the gig in the gentle and shy Frank Tovey. Phil and I were providing a background that wasn’t perfect but for Frank it was a great practice for FG future.

When we toured as support for The Monochrome Set, we were sometimes in fire and I could really feel people’s amazement at that born-to-be showman. He would play with the crowd and slowly take them into the show. Our sound might not have been very sophisticated but with Frank’s distorted piano, the CS50 brutal in and out sounds, Phil’s impeccable swirling bass, we were like The Stooges with synths and Frank was a perfect bionic Iggy Pop….I began to be very proud of us, we were quite something indeed and I was going on stage with a mission: to show people the songs and to let them fall in Frank’s performance.

I also remember that after the last show of the tour, possibly at the YMCA gig, one of the roadie came at the CS 50 and started to play some Bach’s prelude. I was stunned and shameful of the snobiness i may have shown the roadies on that tour, or before tbh. I learned a lesson that night and never again would I be feeling above anyone on a stage, or in studio, be them multiple charts success artists or simple roadie.

Something wild happened after our gig at the 100 club. Jock Mac Donalds (from the future Bollock Brothers) was very drunk and he started to look for a fight with us and being extremely aggressive, a bottle in his hand, waving it at us. Phil, FG’s bass player, was a karate black belt and he was looking very calm, coming closer to Jock inch by inch. Suddenly he jumped at Jock, put two fingers on his Adam’s apple and said with a slow voice: “OK, let’s kill”, his eyes deep into Mac Donald’s eyes.

The bottle instantly fell on the ground and the guy just ran out the club swearing loud and clear… Phil and I were sleeping at Daniel’s mom place for a few days and we were making music late at night. One of these nights, Daniel was on Phil’s MS 20, I was trying Daniel’s infamous Korg 700S (the one that was on TVOD and Warm Leatherette) and Phil was on the CS 50M but it was visibly too loud and too late as Daniel’s mum came down and asked us to PLEASE STOP !

Next gig to come was going to be the Clarendon, but we were told this would be our last gig with Frank as he wanted a full band behind him to totally free him from any other duties but vocals. I was devastated…

Frank Tovey / Fad Gadget #1 (part 3)

So, we were invited to headline Stevo’s kinda festival at the Clarendon, on June 27 1980. Stevo was a very colourful character who will make himself known later when managing bands like Soft Cell and The The. The bill was very symptomatic of the time: DAF, Naked Lunch, B.Movie, Vice Versa, Clock DVA,…

So, Fad Gadget #1 had started touring as a relative unknown a few months ago and we were by now talk of the town and headline this festival. It felt good and it felt also important and I was nervous. Everybody was. Frank had a song by Georges Folmby playing before we would go on. Folmby was a Lancarshire working class comedian and he was famous for playing double entendre ukulélé songs. It was a known and safe thing for British people and Frank used it as contrast as chaos would start when we would cut Folmby and go straight into “State Of The Nation” and follow that with most of what is on the album Fireside Favourites.

• State Of The Nation
• Back To Nature
• The Box
• Fireside Favourite
• Newsreel
• Pedestrian
• Coitus Interruptus
• Ricky’s Hand
• Back To Nature

Yes, Frank wanted shock and chaos, and he got that except that at the Clarendon it went a bit further than expected. During one of the early songs, Fad had already taken over Frank, he smashed up his face with one of the two Syncussion drums and it started pouring blood. Phil and I looked at him and he made us understand it was fine and let’s continue…So we continued until someone took Frank off stage as it was just like a fountain of blood by now. The gig was stopped.

We went backstage and Frank was adamant he was fine but Babra (his wife) disinfected the wound and placed a cloth on it. We went back on stage.

The crowd went MAD. Frank was standing there, his white clothes with red blood all over it, singing to the public that was all won. It was an incredible sight, and being on stage, playing the songs with a singer that went beyond the call of duty was something unexplainable. After the gig, we had to take the 5 am ferry. I was sitting on the stairs of the Clarendon and, yes, I was crying, letting all the tension, the fears of the gig off my system but also the sadness I felt after having lived some incredible times with
Frank, as synth player in Fad Gadget. I saw Frank playing with Fad Gadget #2 a few months later and he invited me to play in the encore: we were cool.

Still, I wasn’t done with London and would come back later…

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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OMD is set to release their 14th studio album, “Bauhaus Staircase”, on 27th October through White Noise Records. This new release will be a continuation from their 2017 album, “The Punishment of Luxury”, and represents their fourth album since the band’s 2006 reformation.

During the UK’s COVID-19 lockdown in 2020, Andy McCluskey, OMD’s frontman, wrote the majority of “Bauhaus Staircase”. Concurrently, the band’s mixing of the album experienced a delay as Paul Humphreys, another key member, welcomed parenthood. It’s also worth noting that this upcoming album will incorporate older, previously unfinished tracks from the band’s archives.

McCluskey has indicated in an interview that “Bauhaus Staircase” willprobably be OMD’s final studio album. But that remains to be seen of course, never say never.

The title track, “Bauhaus Staircase”, is available now as a single.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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“Dazzle Ships,” the fourth studio album from the English electronic band Orchestral Manoeuvres in the Dark (OMD), is set for reissue with additional demos and rarities. Originally released on 4 March 1983 by Virgin Records under the fictitious Telegraph label, the album’s title and cover art were inspired by Edward Wadsworth’s Vorticist painting, “Dazzle-ships in Drydock at Liverpool,” which featured dazzle camouflage.

The 12-track album served as the follow-up to OMD’s commercially successful 1981 release, “Architecture & Morality.” “Dazzle Ships” showcased a departure in sound for the band as they struggled with writer’s block and pressure from the record company to replicate their previous album’s success. The record is renowned for its experimental content, particularly its use of musique concrète sound collages and shortwave radio recordings to explore Cold War and Eastern Bloc themes. The album also delves into the rise of technology in society. It produced two singles, “Genetic Engineering” and “Telegraph.”

Although “Dazzle Ships” was initially a commercial disappointment, it eventually gained a cult following and inspired numerous recording artists. Music journalists have come to recognize the album as an underrated, misunderstood, and ahead-of-its-time work. Despite the later recognition, the band embraced a more radio-friendly sound on the follow-up album “Junk Culture” (1984).

Already re-released once in 2008, the expanded reissue of “Dazzle Ships” now includes bonus demos and rarities compiled and mixed by OMD’s Paul Humphreys. The album is available in three formats:

• Limited Edition black 180g 2LP vinyl in the original bespoke die-cut sleeve, including a lithograph print of the album artwork
• Colored 2LP vinyl in a standard gatefold sleeve (blue and silver color)
• CD

The 2008 reissue featured the following extra tracks:

1. “Telegraph” (The Manor Version 1981)
2. “4-Neu” (“Genetic Engineering” single B-side)
3. “Genetic Engineering” (312MM version)
4. “66 and Fading” (“Telegraph” single B-side)
5. “Telegraph” (extended version)
6. “Swiss Radio International”

The new version offers these additional tracks:

1. “Telegraph” (Very Early Demo / 1982)
2. “Silent Running” (Demo)
3. “Sold Our Souls” (The Avenue Demo)
4. “Shakespeare ’82”
5. “Untitled Instrumental ’82”
6. “In Heaven Above” (4- NEU Demo)
7. “Telegraph” (Live 1984)

Here’s the teaser 3-track release on Spotify.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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Metroland’s Passenger S his first solo album, “The Colour Temperature” (2020), and its companion remix album “The Cubic Temperature”, were extremely well received by the electronic music scene. Three years later 808 Dot Pop returns with three albums in one on Alfa Matrix.

Both “AM 1350” and “FM 88.2” are available only on compact disc while “MW 720” is available as a download only. The two CD albums are complementary conceptual releases and are also produced and mixed like a broadcasting where all songs float into each others to guarantee the ultimate radiophonic experience. The download album has seperate tracks that stand on their own.

The project is driven by his passion for vintage sounds and draws inspiration from renowned acts such as Orbital, Komputer and the pioneers of Kraftwerk. The sound is characterized by warm sequences, melodic synth layers, and robotic vocoders. The entire auditory experience is enhanced with the addition of analog drums, paying homage to a legendary drum machine.

Passenger S: “The idea for a pop radio show initially started when I asked (and also received) permission from OMD’s Andy McCluskey in person to cover their track ‘Radio Waves’. However, since the original was so darn good, the decision was soon taken to drop the cover idea. Still the interest to take a deeper dive into the matter of radio waves remained. A further push by Gary Hunter (Kraftman), who co-wrote on several songs, did finally lead to the birth of a new concept around the 1920’s crystal radio and the inventions of Guglielmo Marconi, who paved way for many things in our modern era.”

Guest singer on the release is Lis van den Akker who you can hear on the titles “Marconi”, “The Detector” and “Distant Voices”.

You can check the download only version of “MW 720” below.

Here’s the official videoclip for “Marconi”.

2 new singles available as well

You can also downbload 2 new singles: “FM 101.4” and “AM 685”. “FM101.4” and “AM 685”.

The 3-track EP “FM 101.4” holds the single version of “Marconi” (aptly entitled ‘on the radio’) backed with the song “The Detector”, which also features the voice of Lis Van Den Akker. The 4-track maxi EP “AM 685” holds two extended versions, a remix with a clear wink to Passenger S and his love for a particular 80s band and his favourite 12inch (one of their 1983 songs was the very start of the entire concept), and an exclusive 3rd song entitled “Voices”, all referencing to the album’s concept.

Check out the singles below. They are available for immediate download via Bandcamp.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

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Factory Records was a Manchester-based British independent record label founded in 1978 by Tony Wilson and Alan Erasmus. The label featured several important acts on its roster, including Joy Division, New Order, A Certain Ratio, the Durutti Column, Happy Mondays, Northside, and (briefly) Orchestral Manoeuvres in the Dark and James. Factory also ran The Haçienda nightclub, in partnership with New Order.

By 1992, the label’s two most successful bands caused the label serious financial trouble. The Happy Mondays were recording their troubled fourth album “Yes Please!” in Barbados and overspent their initial £150,000 budget with £230,000 reaching £380,000 in total. New Order from their side spent £430,000 on recording their comeback album “Republic”. London Records were interested in taking over Factory but the deal fell through when it emerged that, due to Factory’s early practice of eschewing contracts (New Order never had a formal contract with Factory), New Order rather than the label owned New Order’s back catalogue.

Factory Communications Ltd, the company formed in 1981, declared bankruptcy in November 1992. In 1994, Wilson attempted to revive Factory Records, in collaboration with London Records, as “Factory Too”. The first release was by Factory stalwarts the Durutti Column; the other main acts on the label were Hopper and Space Monkeys, and the label gave a UK release to the first album by Stephin Merritt’s side project the 6ths, Wasps’ Nests. A further release ensued: a compilation EP featuring previously unsigned Manchester acts East West Coast, the Orch, Italian Love Party, and K-Track. This collection of 8 tracks (2 per band) was simply entitled A Factory Sample Too (FACD2.02). The label was active until the late 1990s, latterly independent of London Records, as was “Factory Once”, which organised reissues of Factory material. Wilson founded a short-lived fourth incarnation, F4 Records, in the early 2000s.

Broken arms and drugs

Happy Mondays’ “Yes Please!” recordings are a story in itself. This was the fourth studio album by the Happy Mondays and Factory Records reckoned that following the succes of the non-album single “Judge Fudge”, the band deserved a budget of £150,000 for their next album, and as you read above, they didn’t spent £150,000, but £380,000 on their album.

After settling on producers Chris Frantz and Tina Weymouth, both members of Talking Heads and Tom Tom Club, Happy Mondays decamped to Blue Wave Studio in Saint Philip, Barbados in February 1992 where the sessions were plagued by a variety of issues. Frontman Shaun Ryder for instance developed a crack habit. A public relations representative from the band’s label Factory Records even had to issue a statement on Ryder’s behalf, denouncing his drug use. Dancer Bez from his side broke his arm three (!!) times. With little finished material and a lack of lyrics the band returned to the United Kingdom where Ryder was admitted into a detox centre. Recording continued for two weeks in May 1992 at Comfort’s Place Studio in Lingfield, Surrey, where Ryder did his vocals.

The album “Yes Please!” received mixed reviews from music critics. It did sell 50,000 copies by the end of the year but that wasn’t enough by far to keep Factory Records afloat. The band disbanded in 1993, and have reformed several times in subsequent decades.

Here’s some MTV coverage on the band’s “Yes Please!” from a time when the channel still was worth checking out.

And New Order?

They signed with London Records, the label that was initially going to save Factory Records. Apart from New Order also Morris and Gilbert separately signed with the label for their side project The Other Two, whose debut album was originally intended for release on Factory. “Republic”, released around the world in 1993, spawned the singles “Regret”, “Ruined in a Day”, “World”, and “Spooky”.

Tony Wilson made little money from Factory Records or the Haçienda

In the end Factory Records owner Tony Wilson made little money from Factory Records or the Haçienda, despite the enormous popularity and cultural significance of both endeavours. Both Factory Records and the Haçienda came to an abrupt end in the late 1990s.

Wilson died of a heart attack in Manchester’s Christie Hospital on 10 August 2007 aged 57 following kidney cancer for which he was unable to pay the treatment. A number of Wilson’s music industry friends, including former Happy Mondays manager Nathan McGough, their current manager Elliot Rashman and TV stars Richard Madeley and Judy Finnegan, formed a fund to help pay for Wilson’s medical treatment.

Here’s a very rare interview with Wilson, one year before the label would fold followed by a splendid BBC documentary on Factory Records.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

(Picture by Howard Jones PR) The Howard Jones Acoustic Trio embark on a 13-date UK tour at The Bath Forum on October 14, 2022. The tour will showcase an intimate stripped-down trip through Howard’s 30-year music career. The acoustic trio will feature Howard Jones on electric piano, guitarist Robin Boult (Roger Daltrey, Dave Stewart, Fish) and Nick Beggs (Kajagoogoo, Belinda Carlisle, John Paul Jones) on chapman stick.

“I am really excited about the trio tour we have planned for 2022,” says Howard. “Nick and Robin are dear friends and world class musicians and I love performing with them. After touring the trio in America, I thought the time was right for us to bring the fun of this acoustic show back home. I will play a range of songs from the HoJo canon including the hits old and new as well as some deep cuts and fan favourites.”

About Howard Jones

John Howard Jones is a Welsh musician, singer and songwriter. After a BBC Radio 1 session, Jones obtained support slots with China Crisis and Orchestral Manoeuvres in the Dark (OMD) before signing to Warner Music Group (WMG) in mid-1983.

He became famous with a string of hit synthpop singles in the UK between 1983 and 1986 including “What Is Love?”, “New Song”, and “Things Can Only Get Better”.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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OMD have announced the release of “Architecture & Morality (The Singles)” in celebration of the album’s 40th anniversary. Ahead of their UK tour in which they will be playing “Architecture & Morality” in full, they will be releasing a package on 15th October celebrating the 3 hit singles taken from the album.

Included on the tracklisting will be all the original b-sides as well as live recordings from 1981 and unheard demos from the recording of the album. The demo of “Maid of Orleans” is already available on streaming services.

“Architecture & Morality” is the third studio album by the English electronic band Orchestral Manoeuvres in the Dark (OMD) and was released on 6 November 1981 by Dindisc. Inspired by religious music, the band sought to broaden their musical palette by utilising elaborate choral samples, the Mellotron, and other new instruments to create a more naturalistic, emotive sound. The artwork was designed by longtime OMD collaborator Peter Saville, along with Brett Wickens, while its title was derived from the book “Morality and Architecture” by David Watkin.

The album became a commercial success, selling over four million copies and spawning three international hit singles – “Souvenir”, “Joan of Arc” and “Maid of Orleans” – which together sold eight million copies.

Here’s the demo of “Maid of Orleans”, and below the final version. Much production happened in between!

Tracklist of the new release

1. Souvenir
2. Motion & Heart (Amazon Version)
3. Sacred Heart
4. Souvenir (Demo)
5. Choir Song (Rough Mix)
6. Motion & Heart (Live at Drury Lane, 1981)
7. Joan Of Arc
8. The Romance Of The Telescope (Unfinished)
9. Joan Of Arc (Live at Drury Lane, 1981)
10. Joan Of Arc (Rough Mix)
11. New Song (Georgia Demo)
12. She’s Leaving (Demo)
13. Maid of Orleans (The Waltz Joan of Arc)
14. Navigation
15. Sealand (Demo)
16. Submarines
17. Maid of Orleans (Demo)
18. Joan Of Arc (Maid of Orleans) (Live at Drury Lane, 1981)

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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(Photo by Clemens Habicht) While Liars’ latest album, “The Apple Drop”, is out today, the band has also now released the video of a secret show in Sydney, Australia: “Liars: Live at Phoenix”.

“Liars: Live at Phoenix” was directed by Clemens Habicht – who recently created a trilogy of films for “The Apple Drop” – and sees Angus Andrew, Laurence Pike, and Cameron Deyell perform “Murdrum” (from “Titles with the Word Fountain”), “Sekwar” and “Big Appetite” (both from “The Apple Drop”). The setting was the futuristic wood and concrete surrounds of Phoenix Central Park.

Angus Andrew: “It felt essential for the work to be performed in the nest at Phoenix Central Park. The hyper modern architecture intensified the drama and framed the whole evening in a spectacular sci-fi universe. I can’t express enough thanks and gratitude to Phoenix Central Park for the opportunity to debut The Apple Drop in such an awe-inspiring space.”

Here’s the live set.

About Liars

Liars is an Australian-American experimental noise band formed in Brooklyn, New York in 2000. Angus Andrew is the founding and only constant member of Liars, currently joined by multi-instrumentalist Cameron Deyell and drummer Laurence Pike.

Aaron Hemphill played with the band from its inception until his amicable departure from the project in 2017. Julian Gross joined the band for their second album “They Were Wrong, So We Drowned” in 2004, and played with the band until his departure in 2014.

Liars are signed to Mute Records and combine elements of punk-rock with electronica, with Andrew being inspired by artists such as Orchestral Manoeuvres in the Dark (OMD), The Cure, PJ Harvey, Underworld, The Doors and Michael Franks.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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(Photo by McLean Stephenson) Liars have launched their new track, “From What The Never Was”, the latest single from their forthcoming album, “The Apple Drop”, ahead of its release August 6 on Mute.

“From What the Never Was” is accompanied by the last in a trilogy of films directed by Clemens Habicht. This interstellar horror prequel covers the time leading up to “Sekwar” and “Big Appetite”. In it, we find Angus Andrew, Laurence Pike, and Cameron Deyell traversing deep space when the mission goes terribly wrong. This chapter takes place in the futuristic interiors of Phoenix Central Park in Sydney, Australia, who commissioned the film.

Watch the film below.

Watch the previous videos here.

“The Apple Drop” follows 2017’s “TFCF” and 2018’s “Titles with the Word Fountain”. The new album finds Angus working with avant-garde jazz drummer Laurence Pike, multi-instrumentalist Cameron Deyell, and lyricist Mary Pearson Andrew.

Liars is an Australian-American project which was formed in Brooklyn, New York in 2000 by Angus Andrew who is also the only constant member of Liars. Liars have released nine studio albums and are signed to Mute Records. Musically the band is inspired by artists such as Orchestral Manoeuvres in the Dark (OMD), The Cure, PJ Harvey, Underworld, The Doors and Michael Franks.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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OMD is coming back to North America for a headline tour bringing 40 years of greatest hits. You can see all the dates below.

Now that we think of it, 40 years is actually kinda ‘misleading’ some might say as the band released its very first single already in 1979, which was a re-recorded version of a track originally by the Id (which was the first band for McCluskey and Humphreys) called “Electricity”. But the UK and European tour was already announced in March 2019 as part of the group’s 40th-anniversary celebrations which saw the release of a retrospective deluxe boxset entitled “Souvenir”.

Here are the confirmed dates.

About OMD

OMD (Orchestral Manoeuvres in the Dark) were formed in Wirral, Merseyside (UK) in 1978 by Andy McCluskey (vocals, bass guitar) and Paul Humphreys (keyboards, vocals). The band gained popularity throughout Europe with the 1980 anti-war song “Enola Gay”, and achieved broader recognition via “Architecture & Morality” (1981) and its three singles, all of which were international hits.

In 1989, creative differences saw Humphreys and other members form the spin-off band the Listening Pool, leaving McCluskey the only remaining member of OMD. The group returned with a new line-up and explored the dance-pop genre: “Sugar Tax” (1991) and its initial singles were hits in Europe. By the mid-1990s, however, electronic music had been supplanted by alternative rock, and both OMD and the Listening Pool disbanded in 1996. McCluskey later conceived pop girl group Atomic Kitten, for whom he served as a principal songwriter, while Humphreys formed the duo Onetwo alongside Propaganda vocalist Claudia Brücken.

In 2006, the band reformed with Humphreys and McCluskey working on material closer in sound to their early output; “The Punishment of Luxury” (2017) was the group’s seventh top 10 entry on the UK Albums Chart.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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UK electropop act OMD have announced the release of their upcoming DVD “OMD: Live From Your Sofa”. The DVD will contain both the single-camera footage aired as part of the event as well as a brand new edit featuring footage from multiple cameras.

The footage is of the full Hammersmith Apollo gig on the Souvenir Tour in November 2019.

The DVD will be presented such that you can choose which of the two covers you prefer to use. The first one is the one on top of this article, the second is the one below.

Release date is expected to be 10th July (this may change depending on how long the new edit/manufacture of the product takes).

Below is the version as released on YouTube.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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Out now is the previously unreleased Orchestral Manoeuvres in the Dark (OMD) track “Liberator”, taken from the forthcoming “Souvenir” boxset.

“Liberator” was a song that Andy McCluskey had been trying to write for several years from the late 1980s to the mid 90s. It was actually intended as the title track to the 1993 album of the same name but never made it onto the album.

The inspiration for the song comes from Andy’s love of WWII aeroplanes. There were several demo versions recorded – the one released today is the nearest the song got to the intended sound says the band.

Here it is!

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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OMD have announced that they will be recording and releasing their shows with the Royal Liverpool Philharmonic Orchestra next month (6 & 7 October). The audio will be taken from the best of both nights, presented as a double CD, 3LP and as a download.

Next to this, the full recording of each performance at the Liverpool Philharmonic Hall, will also be presented on double CD. These CDs will be manufactured rapidly and will be released in the days following the show and are limited to 750 copies.

The tracklisting of these releases will be confirmed following the show.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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Orchestral Manoeuvres in the Dark (OMD) have announced the publication of the book “Pretending To See The Future”, in celebration of the band’s 40th anniversary.

To be published in November 2018 “Pretending To See The Future” is an oral history – told in the first person – of OMD, mixing hundreds of fan anecdotes with memories from the band, their collaborators, other musicians and celebrity admirers garnered from 40 years of recording and performing. The book contains commentary from OMD founders Andy McCluskey and Paul Humphreys, plus band members Martin Cooper, Malcolm Holmes and Stuart Kershaw, and is packed full of memorabilia and hundreds of photos. With many images in full colour and previously unseen pictures from the band’s own archive. Or as the press text says: “This is the OMD story as it’s never been told before.”

The book is now available to pre-order from PledgeMusic. All early pre-orders from Pledge will also receive an exclusive flexi-disc featuring a very rare and previously unheard demo of “Messages” from the summer of 1978 before Andy and Paul actually formed Orchestral Manoeuvres in the Dark.

Recorded in the garage studio of school friend Paul Collister who would become OMD’s manager, and featuring the electronic drums built by Paul Humphreys, this is the sound of two 18 year old kids experimenting in early electronic music. The song would become the band’s first hit single two years later.

The flexi-disc will be made to order for the initial purchases of the book and will not be available elsewhere.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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A new OMD track entitled “The View From Here” from the band’s forthcoming album “The Punishment of Luxury” has been released today. The track can be heard right below (mind you, some countries might be blocked).

“The Punishment of Luxury” will be released two weeks today and is available for pre-order in a variety of formats.

In further news, the first single “Isotype” is released on limited edition 12″ vinyl today. The second limited 12″ single release to be taken from the album will be “The Punishment of Luxury”. This will be released on September 15th (slightly earlier than previously advertised) and will include a special extended mix of the single as well as the b-side Lampe Licht.

The UK/Europe leg of ‘The Punishment of Luxury Tour’ is on sale now!  Tickets are available for purchase right here. See below for the dates.

23rd Oct – IE – Dublin – Vicar Street
24th Oct – UK – Belfast – Mandela Hall
29th Oct – UK – Liverpool – Empire Sold Out
30th Oct – UK – Bristol – Colston Hall
1st Nov – UK – Southend – Cliffs Pavilion
2nd Nov – UK – Ipswich – Regent
3rd Nov – UK – Cambridge – Corn Exchange
5th Nov – UK – Leicester – De Montfort Hall
6th Nov – UK – Nottingham – Royal Concert Hall
7th Nov – UK – Sheffield – City Hall
9th Nov – UK – Reading – Hexagon
10th Nov – UK – Southampton – Guildhall
11th Nov – UK – Guildford – G Live
13th Nov – UK – London – Roundhouse
15th Nov – UK – Bexhill – De La Warr Pavilion
17th Nov – UK – Manchester – Academy
18th Nov – UK – York – Barbican
19th Nov – UK – Glasgow – Royal Concert Hall
21st Nov – UK – Birmingham – Symphony Hall Sold Out
22nd Nov – UK – Gateshead – Sage
25th Nov – DE – Erfurt – Traum Hits Festival – Tickets
26th Nov – DE – Hamburg – Grosse Freiheit Upgrade
28th Nov – DE – Berlin – Huxleys Upgrade
29th Nov – DE – Leipzig – Haus Auensee Upgrade
30th Nov – DE – Munich – Tonhalle Upgrade
2nd Dec – DE – Offenbach – Stadthalle Upgrade
3rd Dec – DE – Dusseldorf – Mitsubishi Electric Hall Upgrade
5th Dec – NL – Tilburg – 013 Upgrade
6th Dec – BE – Antwerp – De Roma Upgrade
8th Dec – CH – Lausanne – Les Docks Upgrade

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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Orchestral Manoeuvres in the Dark (OMD) are back! The second single to be taken from OMD’s forthcoming album “The Punishment of Luxury”, after the earlier released “La Mitrailleuse”, is the title track. You can watch the video below. The new album will be out on September 1st and can be ordered right here on CD, as a download or on vinyl.

Regarding the title of the album Andy McCluskey explains: “Most people in the Western world are materially better off than their predecessors ever were and yet we are unhappier. Now we have many possessions we don’t need because we’ve been persuaded to buy. This is the punishment of luxury.”

“The Punishment of Luxury” is the 13th studio album by the English synth-pop group, and the third since their 2006 reformation and was produced by OMD. OMD are set to tour Europe and North America in support of the album.

The album will also be available as an exclusive 12″ vinyl which will be released on 13th October. The 12″ vinyl is limited to 1,000 copies worldwide and includes a 12″ extended mix of the single and an exclusive b-side entitled Lampe Licht.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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Out on September 9 via White Noise Records is the newest Orchestral Manoeuvres In The Dark (OMD) album “The Punishment Of Luxury”. The announcement is accompanied by the very beautifully animated video of the track “La Mitrailleuse”, which you can view below.

The new album will be OMD’s 13th studio album so far and is the follow up to the well received “English Electric” LP (released in 2013). The new material was as usual written, recorded, produced and mixed by OMD (Andy McCluskey and Paul Humphreys). In case you wondered what the title refers to, it takes its name from an 1891 painting by the Italian Giovani Segantini.

Here’s the video for “La Mitrailleuse”.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

side-line.com

The English electronic music band Orchestral Manoeuvres in the Dark (OMD) is almost ready with the follow-up to 2013 album “English Electric” which was their twelfth studio album since they officially formed in 1978.

The band posted the above picture on Facebook with the sentence: “Late nights in the studio finishing the new album!” No other details have been revealed so far.

For those who can’t wait to hear / see Andy McCluskey, you can hear him talking with Rudi Esch at the Cavern Club on the 9th November. He’ll be discussing the book “Electri_City: The Dusseldorf School of Electronic Music”.

On the 12th later on that month he will be giving a presentation at the Electronic Music Convention in Birmingham entitled “Electronic Music; What will the future sound like?”

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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OMD have announced that they will be playing the classic albums “Dazzle Ships” (1983) and “Architecture & Morality” (1981) in full at the Royal Albert Hall in London on May 9th 2016. General sale tickets will be on sale from Friday 4th December at 9am.

Also available will be VIP packages (costing up to 250 UK£) including seats in the very front rows, soundcheck access, meet & greet with the band and exclusive merchandise. These VIP packages will be on sale from Wednesday 2nd December at 9am.

“Architecture & Morality” is the 3rd album by the British synthpop band Orchestral Manoeuvres in the Dark, released in 1981. It became a commercial and critical success, selling over millions of copies. Its associated singles (“Souvenir”, “Joan of Arc”, and “Maid of Orleans (The Waltz Joan of Arc)”) were international hits, selling more than 8 million copies combined.

“Dazzle Ships” is the 4th album by Orchestral Manoeuvres in the Dark (OMD) and was released in 1983. The album is noted for its highly experimental content, particularly musique concrète sound collages, utilising shortwave radio recordings to explore Cold War and Eastern Bloc themes.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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OMD, aka Orchestral Manoeuvres in the Dark, are set to release a live version of one of their most notorious records, 1983’s “Dazzle Ships” which was recorded live at the Museum of Liverpool. When first released “Dazzle Ships was a critical and commercial flop. Record Mirror considered it to be “difficult and fractured” while Time Out spoke about “redundant avant-garde trickery”. Since then it has however grown out to be a cult release.

Below is an exclusive clip of the band playing “Genetic Engineering”.

The CD/DVD will be out in 3 weeks from now. Manufactured in a limited edition of 2,000 copies only, it is exclusively available through PledgeMusic. A picture disc capturing the live recordings of the “Dazzle Ships” tracks is also available on 750 copies.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

side-line.com