In The Electric Mist Nell'occhio Del Ciclone (2009)

OMD's first full album won as much attention for its brilliant die-cut cover - another example of Peter Saville's cutting-edge way around design - as for its music, and its music is wonderful. For all that, this is a young band, working for just about the last time with original percussionist Winston; there's both a variety and ambition present that never overreaches itself. The influences are perfectly clear throughout, but McCluskey and Humphreys would have been the last people to deny how Kraftwerk, Sparks, and other avatars of post-guitar pop touched them. What's undeniably thrilling, though, is how quickly the two synthesized their own style. Consider "Almost," with its dramatic keyboard opening suddenly shifting into a collage of wheezing sound beats and McCluskey's precise bass and heartfelt, lovelorn singing and lyrics…

Looking back on 20 years of creative growth since the electro-pop band's inception, The OMD Singles is logically and chronologically arranged. The earliest recordings, 1980's "Electricity" and "Messages," prove electric messages were being channeled from such German pioneers as Kraftwerk and Neu! These English boys were enamored of melody, though, and it was not long before such dulcet, song-like structure became self-evident, as in 1984's "Tesla Girls." From then on, it is a steady climb in coherence, with synth rhythms downplayed in order to bring the melodic theme to the front. The pinnacle of this progression is OMD's memorable "So in Love" (1985) and "If You Leave" (from 1986's Pretty in Pink). The album closes with their last hit, 1996's glam-influenced autobiography "Walking on the Milky Way"…

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…

Looking back on 20 years of creative growth since the electro-pop band's inception, The OMD Singles is logically and chronologically arranged. The earliest recordings, 1980's "Electricity" and "Messages," prove electric messages were being channeled from such German pioneers as Kraftwerk and Neu! These English boys were enamored of melody, though, and it was not long before such dulcet, song-like structure became self-evident, as in 1984's "Tesla Girls." From then on, it is a steady climb in coherence, with synth rhythms downplayed in order to bring the melodic theme to the front. The pinnacle of this progression is OMD's memorable "So in Love" (1985) and "If You Leave" (from 1986's Pretty in Pink). The album closes with their last hit, 1996's glam-influenced autobiography "Walking on the Milky Way"…

This is the third, and apparently, the last single of OMD taken from their 2013 album "English Electric". The CD is divided in two parts: "Night Café" in five different versions and… five non-album B-Sides, including the never released before "Kill Me". As per "Night Café", we have of course, the album version that really didn't need any further editing or remixing as the song in itself is just brilliant. A pure typical OMD songs in the vein of ‘Secret’ or "If You Leave", with a more melancholic and darker side probably. The four remixes are just what a New Wave fan expect from a remix: just enough experimentation and twittering, extending and fresh production with great respect of the artist's work, keeping some synth lines and not playing too much with vocals.

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…

The Academy of St Martin in the Fields was founded in 1959 by Sir Neville Marriner and a group of London’s leading orchestral players. Originally formed as a small conductorless string group, it spearheaded the 1950’s Baroque revival.

This is the third, and apparently, the last single of OMD taken from their 2013 album "English Electric". The CD is divided in two parts: "Night Café" in five different versions and… five non-album B-Sides, including the never released before "Kill Me". As per "Night Café", we have of course, the album version that really didn't need any further editing or remixing as the song in itself is just brilliant. A pure typical OMD songs in the vein of ‘Secret’ or "If You Leave", with a more melancholic and darker side probably. The four remixes are just what a New Wave fan expect from a remix: just enough experimentation and twittering, extending and fresh production with great respect of the artist's work, keeping some synth lines and not playing too much with vocals.

The debut album of a folk-rock band from Bergen, formed in 1971. The name of the group has to do with a gang of criminals from the American Wild West. “Hole-in-the-Wall” - the so-called mountain pass in the county of Johnson (Wyoming), where the criminals had their own shelter. The band’s music is an interesting blend of American country, folk, rock’n’roll and psychedelia. Folk component is emphasized by active use of acoustics and typical violin passages, but at the same time in many tracks there are various keyboards and blues guitar. The frontman of the band Rune Walle later became a member of Ozark Mountain Daredevils, and also played with The Flying Norwegians. In 1978, with a new composition, the band recorded the second album “Rose Of Barcelona”.