Cat in The Agraharam

OMD have rarely been as dance-oriented as they are on Liberator, a collection of retro-disco and contemporary '90s club cuts. While it is far from the experimental and edgy synth-pop that earned the group rave reviews in the early '80s, it is an enjoyable, lightweight collection of appealing dance-pop.
Orchestral Manoeuvres in the Dark are one of the earliest, most commercially successful, and enduring synth pop groups. Inspired most by the advancements of Kraftwerk and striving at one point "to be ABBA and Stockhausen," they've continually drawn from early electronic music as they've alternately disregarded, mutated, or embraced the conventions of the three-minute pop song.

After a string of releases on Sony Classical that have redefined the parameters of the classical recital album, Khatia Buniatishvili is returning to tradition with a recording of two of Mozart’s most sublime late piano concertos. Khatia Buniatishvili joins an iconic orchestra in performances of two cherished piano concertos by Mozart.

The re-master of a 1974 Decca Record recording is excellent in execution and style. Neveille Marriner and St. Martin-in-the-Fields perform in their typical excellent manner.

If there was a clear high point for OMD in terms of balancing relentless experimentation and seemingly unstoppable mainstream success in the U.K., Architecture & Morality is it. Again combining everything from design and presentation to even the title into an overall artistic effort, this album showed that OMD was arguably the first Liverpool band since the later Beatles to make such a sweeping, all-bases-covered achievement - more so because OMD owed nothing to the Fab Four. All it takes is a consideration of the three smash singles from the album to see the group in full flower. "Souvenir," featuring Paul Humphreys in a quiet but still warm and beautiful lead role, eases in on haunting semi-vocal sighs before settling into its gentle, sparkling melody…

To mark the records’s 40th anniversary, Orchestral Manoeuvres In The Dark will release the three singles from 1981’s Architecture & Morality together on one album, along with associated tracks: unreleased demos, studio sessions and live performances.

To mark the records’s 40th anniversary, Orchestral Manoeuvres In The Dark will release the three singles from 1981’s Architecture & Morality together on one album, along with associated tracks: unreleased demos, studio sessions and live performances.

A generous collection of Haydn Concertos, Overtures and Dances, this 2CD set offers the Philips recordings of the Cello Concertos and the Argo recordings of the remaining works. Although released in various reissues, the Marriner/Argo Haydn Concertos have never before been offered together and this collection offers a great opportunity to explore these recordings from 1966–69. Familiar works such as the E flat major Trumpet Concerto and the two Cello Concertos appear together with the little-known Organ Co’ncerto. Also on offer, are two sets of German Dances/Allemandes (both making their first appearance on CD) and a pair of Overtures, of which that for Acide e Galatea’ is a first-on-CD release.

Things that don't fit neatly into pigeonholes have always had a hard time, and so it has been with the saxophone; Hoffnung's string-tuba would have had very big problems. Sax was a tireless inventor: his plans for a monster canon, and a device for playing loud music from Parisian high ground never bore fruit, but the former anticipated Saddam Hussein and the latter, scaled down, is with us as Muzak. Though the saxophone has never found a regular place in the orchestra it has nevertheless captured the interest of a long line of composers; a square peg doesn't need to fit into any orchestral round hole when it is centre-stage.

With 2013's English Electric, Orchestral Manoeuvres in the Dark made a record that paid tribute to their heroes Kraftwerk, while also embracing their own mid-'80s sound, which made them the darlings of the John Hughes set. They must have liked the formula they used to get that result, because they repeat it on 2017's The Punishment of Luxury. Now down to the duo of Andy McCluskey and Paul Humphreys, they've once again crafted a sleek and shiny synth pop album that has all the clean lines of their original incarnation and all the gloss of their poppiest era. It makes for a very nostalgic listening experience, but it never feels like a museum piece, especially since neither man's voice sounds like it has aged a day…