Enola gay omd 1980 lyrics meanoing1/30/2024 While disdaining the stiff, machine-music approach of some contemporaries, they never denied a debt to Kraftwerk. They slotted in well with the bookish intellectualism of electronica’s most persuasive spokesmen, yet had their very own brand of highly rhythmic, distinctively chart-friendly, electro-pop. Somewhere in the middle, between posturing space-pop and art-school philosophising, fell a likeable duo from The Wirral, Andy McCluskey and Paul Humphreys, the founders of Orchestral Manoeuvres In The Dark (OMD). John Foxx described his affinity with the early 20th-century Italian Futurism – an art movement which embraced machinery – while the godfather of electronica, Brian Eno, mused on how it had opened up new areas of musical possibility, like a painter discovering a million new colours. Many writers delighted in the readiness of its exponents to talk. But others liked the experimental joy, “the approachable artlessness” of the upstart sound. This stuff was said to be second-generation glam, cut-price Bowie, of appeal only to the musically illiterate or the very young. Electro-pop sounded “as if it were composed by computers, played by robots, and bought by masses,” raged a deeply troubled reviewer of a Gary Numan gig in 1980. ![]() Leafing through back copies of the rock weeklies circa 1979/80 offers an illuminating insight into the way the synthesiser’s arrival as a lead instrument divided critics.
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