omd tour 1991

The Fan Club Years

Music from the beginning

OMD – The Sugar Tax Tour – 1991

October 23rd 1991 – Birmingham NEC

This gig was a bit of a birthday treat to me. If a trip to the NEC could ever be considered a “treat”.

Orchestral Manoeuvres in the Dark had now gone through a bit of a change, with FIVE of the main protagonists leaving the band.

They had spent the year before in America and done pretty well, but on their return to the UK, brothers Graham and Neil Weir left the band. They were followed shortly after by Paul Humphreys….this was a major blow as in essence, he was the bands main musician backing Andy, so this started to feel not like OMD anymore.

The final blow to the band came when both Martin Cooper and Malcolm Holmes left to join Paul Humphries new band. I don’t remember hearing much about why they fell out, but definitely musical direction was a big factor as Paul wasn’t happy with the music being more commercial….something I agreed with!

The Railway Children

I don’t remember much about these guys but they were a pop rock band from Scotland and this was their hit around the time. I remember the tune, but can’t say I remember them much from the gig. They were destined to split up in 1991, but left a few decent records.

So this tour was only Andy McCluskey with a new band and I’m afraid it did show. There was a level of keyboard sound missing and as expected, the sound was very clean and sharp electronic. Don’t get me wrong, everyone was playing an exceptional quality of music and Andy McClusky was at his windmilling best, but Paul was missed, the band was missed, the NEC was its appalling best as usual. Andy McClusky was brilliant and clearly felt he had to dominate the stage more to make up for the absence of Paul.

“Sugar Tax” struggled to provide songs I really liked. The hits were not my cup of tea, although to be fair, “Sailing on the Seven Seas” worked a hell of a lot better live than it did for me on record. “Call my Name” and “Pandora’s Box” were probably my favourites.

Songs were missed out which like, “She’s Leaving, ” and the really good ones, rightly, were saved for the encore, which meant it was quite a slow gig really. But, it’s still one of the most important bands in my music growing up, so they will always be cut some slack.

I chose “Pandora’s Box” as the song, take a moment to read the notes at the start of this video, which gives an emotional look at the life of the subject of the song, Louise Brooks…..very interesting.

• Tesla Girls
• Call My Name
• If You Leave
• Then You Turn Away
• Talking Loud and Clear
• Maid of Orleans
• Walking on Air
• Pandora’s Box
• Sailing on the Seven Seas
• Encore : Joan of Arc, Electricity

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Milton Keynes, 24 August 1991

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Live concert

Date: Saturday 24 August 1991

Venue: Milton Keynes Bowl, UK

One of OMD's festival appearances during the month of August between the UK and Europe/NA legs of the Sugar Tax tour .

• 3.1 Official releases

Line-up [ ]

• Andy McCluskey
• Nigel Ipinson

Setlist [ ]

• Call My Name
• Electricity
• So In Love ( power goes off at the start )
• Joan Of Arc
• Maid Of Orleans
• Talking Loud & Clear
• Pandora's Box
• Sailing On The Seven Seas

Live recordings [ ]

Broadcast live on the day on BBC Radio 1 for The Saturday Sequence , and repeated later in the year (without power-cut) as Back by Public Demand on 12 October 1991. ( see omd-live )

Official releases [ ]

• Enola Gay / Dreaming / Call My Name released on second CDS of Dream of Me (VSCDG 1461, 1993)
• Electricity / Walk Tall / Locomotion released on CDS of Everyday (VSCDG 1471, 1993)
• Listed in Houghton (2018), pp.289-290:

Sources: [ ]

• omd-live.com
• 1 Souvenir - The Singles Collection 1979-2019
• 2 Tesla Girls
• 3 Never Turn Away

OMD – Liberator Revisited

“i thought this one would be edgier, but i seem to have written my poppiest album ever” – andy mccluskey.

If you were to poll a cross section of Orchestral Manoeuvres in the Dark fans asking them to rank their twelve studio albums in order of favourite, it’s highly likely that 1993’s Liberator is going to rank somewhere in the bottom three.

The second of a trio of 1990s solo Andy McCluskey albums released under the OMD name, Liberator has divided opinion since its original release almost 25 years ago. Despite featuring some moments of brilliance, many reviewers were damning with their criticism, declaring it as both “a collection of featherweight pop doodles” and “twiddly chocolate-box tosh”. In this article we look at the build-up to this album, and revisit its contents track-by-track.

By the time the Sugar Tax tour had ended in November 1991, the live band – which comprised Nigel Ipinson, Phil Coxon and Abe Juckes – had performed over sixty shows in Europe and the USA, including a handful of support slots for Simple Minds (who they would later support in 2009 on the Graffiti Soul tour). This was in addition to a slew of other promotional work in support of the album and its four attendant singles, including two huge Top Ten hits in ‘Sailing On The Seven Seas’ and ‘Pandora’s Box’. And, with a TV soundtrack (BBC’s For The Greater Good ) to add to McCluskey’s impressive CV, OMD’s profile had not been as high since the early 1980s.

Whilst an ill-advised brace of follow-up singles – ‘Then You Turn Away’ and a remixed ‘Call My Name’ – failed to crack the Top 40, the year still ended on a high with a well-received second wave of live appearances in the UK and further dates in Europe. The dilemma facing the 32-year old McCluskey in the new year was whether to record and release a quick follow-up to Sugar Tax and consolidate OMD’s high profile, or to spend time building up a substantial pool of new songs in which to fashion an album that was as worthy of the OMD name as its predecessor. With a double-platinum record on their hands, Virgin Records would most certainly have exerted pressure on him to deliver a sequel as soon as possible. McCluskey told Future Music magazine in 1999: “I made Liberator too quickly… I was so surprised by the success of Sugar Tax I ran straight back into the studio and wrote another album!”

Production and programming duties were handled by McCluskey and Phil Coxon, the pair having become acquainted during the recording of the Sugar Tax album at the Pink Museum recording studio in Liverpool. Coxon had done some engineering work on the album and was talked into playing keyboards on the ensuing tour by McCluskey. Crucially, Coxon had also proven himself as a capable remixer, producing several uncredited mixes of ‘Sailing On The Seven Seas’ for the American market.

Confident of a repeat-success of Sugar Tax , Virgin Records invested fairly heavily in the promotion of Liberator , bankrolling two expensive videos for ‘Stand Above Me’ (filmed on location in New York) and the green-screened ‘Dream Of Me (Based On Love’s Theme)’. A large number of promotional box sets were also issued – these included a biography, 4-track audio cassette and From Factory to Liberty , a VHS video that featured a short history of the band and a documentary of the New York video shoot. As for the sleeve, the story behind this is an article in itself , with Virgin deeming the original design too risqué. Its vibrant replacement, featuring a collage of images of a Cherokee Native American, also incorporated a new OMD logo, which erased a quarter of the typeface.

HMV and Menzies declared Liberator their ‘Album of the Week’, while Tower Records, Virgin Megastore, Our Price, Woolworths, WH Smith all displayed the album in their windows – over a hundred independent retailers also featured the album prominently in store. In addition, Capital Radio ran an OMD weekend shortly after the album’s slightly delayed release in mid-June.

Following some criticism about the Sugar Tax booklet, McCluskey consented to his lyrics being printed inside Liberator , but insisted that they weren’t presented in the conventional poetry style. McCluskey was now also comfortable with his name featuring prominently, as opposed to just ‘OMD’.

Stand Above Me

With his grounding in dance music, which included remixes for Liverpudlian electronic outfit Oceanic (best remembered for 1991’s ‘Insanity’), Phil Coxon was invited to produce some remixes for the new album’s lead-off single. ‘Stand Above Me’ was white-labelled first,” recalled Coxon in 1993 . “They [the record label] thought that if a trendy, hip DJ says “what’s this record?”, picks it up and it’s got OMD on it, it’s very likely he’s going to put it back down. So it was put out as ‘Stand Above Me’ by The Liberator and it worked – it fooled them all. All the DJs were playing it all the time, even the DJs in Liverpool who got copies of it.” The label’s – and McCluskey’s – faith in Coxon was vindicated when they were rewarded with a sizeable Billboard dance hit. The problem was, the remixes bore no resemblance to the actual song and Coxon’s remixes would attract a fair amount of criticism from fans throughout the year.

Backed with sparkling B-side ‘Can I Believe You?’ (which many fans favoured to the A-side), the single arrived in May 1993. Described by McCluskey as a Ronettes-meets-Status Quo mash-up, the simple 3-chord song was co-written by Stuart Kershaw and Lloyd Massett, who had both contributed significantly to the writing of Sugar Tax . It followed the same template as ‘Sailing On The Seven Seas’, with its huge drums, steady organ and throwaway lyrics. Indeed, an appearance on Top Of The Pops saw McCluskey, Coxon and Ipinson all donning guitars in a Quo-like tribute! A perfectly serviceable, but decidedly unmemorable lead-off single, it peaked at number 21 (it’s possible that it missed out on a Top 20 placing due to its lack of a second CD single).

Arguably, one of the biggest problems with Liberator is that it’s trying too hard, and the desire to spawn hits comes through in its over-fussy and cluttered production. Somewhat tellingly, McCluskey told Vox that year: “The main thing is, I hate songs that are no good, that you can’t remember the tune of. I can’t stand boring songs, and if I wrote them I’d be really pissed off with myself. I sweat blood to write songs with tunes that you can remember.” The grammatically-incorrect ‘Everyday’ is a case in point, with its cloyingly catchy melody that called to mind the Sega and Nintendo platform games of the early 1990s. It had actually started life as a middle-of-the-road ballad – which McCluskey had co-written with Paul Humphreys in 1987 – and some fans maintained it should have stayed in the vaults.

The accompanying video was a relatively low-budget affair that incorporated footage from a warm-up gig at Liverpool’s Royal Court Theatre. The single flopped, peaking at a lowly number 59, and is perhaps best remembered for its haunting, ethereal B-side, ‘Every Time’.

King Of Stone

One of OMD’s great strengths over the years has been their ability to craft a beautiful melodic song using the bare minimum of chords – ‘King Of Stone’ certainly falls into this category. This simple two-chord song was one of the album’s highlights, with McCluskey cleverly switching from first to third person in the lyrics: “Once again, he’s all alone/ Here am I, the king of stone”. What lets it down slightly is the production, featuring a booming percussive loop and irritating handclaps.

Dollar Girl

Boasting a huge chorus that threatened to morph into ‘Unchained Melody’, ‘Dollar Girl’ had been inspired by an article that McCluskey had read about Russian prostitutes dealing only in American dollars. With its sequencer-heavy production and a well-used Korg M1 providing the choral effects, this one-time single contender became a favourite with the fans who favoured tracks such as ‘Speed Of Light’ and ‘Call My Name’ from the Sugar Tax album.

Dream Of Me (Based on Love’s Theme)

With mixed reviews for the album and the failure of ‘Stand Above Me’ to crack the Top 20, initial sales of Liberator were disappointing. The album would eventually spend just 6 weeks on the chart, peaking at number 14 (by contrast, Sugar Tax had hit number 3 and spent over six months in the charts). Virgin rolled the dice with the second scheduled single…

McCluskey ‘had an idea’…based on ‘Love’s Theme’, a transatlantic instrumental chart-topper for Barry White’s Love Unlimited Orchestra in 1973. It was originally written for Sugar Tax but Barry White had blocked its release, before eventually relenting a few years later. McCluskey expanded on the story in Vox magazine that year: “He thought the hook went, “Had an idea – let’s start a love theme.” Anyway, he rang me up and said: ‘Look Andrew, this is your masterpiece, you sing what you wanna sing. But “Let’s start a love theme” – I love it. It could be a man and a woman, friends, family, countries – the whole motherfucking world!”

Interestingly, the original ‘Love Theme’ sample was used on the album version of the song (with White collecting a sizeable portion of the songwriting royalties), but erased from the Single version. McCluskey reflected to Future Music magazine in 1993: “Even after 15 years in the music business, I’m finding new ways to get screwed by people.” As a condition for the use of ‘Love Theme’, White was unfairly listed as sole writer and producer of the track.

Pedro Romahni was employed to direct the stunning video for the single. Romahni was a well experienced director who had helmed several videos for artists such as The Beautiful South, The Sugarcubes and Paul Weller. McCluskey had been particularly impressed with the video for Dina Carroll’s 1992 single ‘Ain’t No Man’, which combined meticulous choreography with clever camera trickery to create an animation-like effect.

Sunday Morning

To some, the appearance of ‘Sunday Morning’ on Liberator suggested that McCluskey was short on material. However, in the 1990s it was seemingly quite fashionable to cover songs by both Lou Reed and The Velvet Underground, with the likes of Duran Duran, U2, Nirvana, Billy Idol and the much-missed Kirsty MacColl all having a crack. OMD were not averse to the odd cover version themselves (see ‘Telstar’, ‘The More I See You’, ‘Neon Lights’, etc) and had of course already covered the arthouse rockers’ seminal tale of a New York drug deal, ‘I’m Waiting For The Man’, on the 10″ B-side of ‘Messages’. Nigel Ipinson’s straight, but unremarkable, glockenspiel arrangement was faithful to the original 1967 single, while the guitar solo was provided by Stuart Boyle (who’d also played on Sugar Tax).

Used as the opening music during the live shows that year, gothic rave instrumental ‘Agnus Dei’ was the first track written for Liberator , and something of a concession to the musical trends of the era. Inspired both by a love of religious choral music and the fast-paced techno tracks of the early 1990s (see Altern-8, U96, Urban Hype, The Prodigy, 2 Unlimited, etc), McCluskey explained the track’s inception to Future Music magazine in 1993: “I like techno and rave music, but I didn’t know how it was done, so that song is, like, teach-yourself-techno. Instead of doing a generic rave track, I wanted to put its own personality there… so I threw in a sample from a Christopher Tye cathedral music CD.”

Phil Coxon recalled that the original demo was quite different to the album version: “He [McCluskey] was worried about it being too fast, and I think the culprits for putting that fear into his head were the record company advisors from the dance department who seemed concerned that really fast rave was out now.” Indeed, by the time of the album’s release, ‘rave’ music was becoming increasingly out of fashion, with discerning dance record buyers favouring the ‘Eurodance’ sub-genre (see Snap, Culture Beat, Haddaway, et al).

Love And Hate You

‘Love And Hate You’, a more conventional ‘verse-chorus’ pop song with analogue synths, maintained side two’s fast pace. It was originally conceived as a slower, reggae-style number during writing sessions for Sugar Tax , before being given something of a Vince Clarke-style makeover. McCluskey told the Telegraph fanzine in 1993: “Lyrically, it’s about loving and hating somebody – you love somebody but they drive you mad. It’s great fun – it’s a really good pop song. Probably sounds a bit Erasure-ish actually – it’s like a tough Erasure song.”

Ten years after it was debuted during a short tour in September 1983 (supported by Howard Jones), ‘Heaven Is’ finally made it on to an OMD album. The original version (as documented on live bootlegs and 2015’s Junk Culture reissue) was a ‘Blue Monday’-inspired LinnDrum-heavy experiment, with McCluskey reeling off a list of things that made him tick. Much-fabled amongst OMD fans during the mid-1980s, the track was considered for inclusion on both Crush and The Pacific Age . The new version featured some lyrical tweaks, with adult film actress Christy Canyon replacing former BBC presenter Selina Scott as the object of his affections. Disappointingly, it lacked the original’s charm – over produced and permeated with more dated ‘rave’ stabs, ‘Heaven Is’ was something of an anti-climax.

Best Years Of Our Lives

By the time of the album’s release, McCluskey had been writing songs with Stuart Kershaw for over three years. “Increasingly, though I hate to say it, the way that we write has become more and more like the way I used to work with Paul Humphreys,” he admitted to Future Music magazine. “I’m sitting at the computer and Stuart’s sitting at the keyboard, he’ll start playing something and I’ll say, ‘Ooh, that sounds nice!’… his ideas are so totally different to what I would be capable of myself, so it’s exciting when he plays something that I wouldn’t think of but I know I can do something with.”

One particular idea stemming from this partnership was ‘Best Years Of Our Lives’, one of the best tracks on the album and a firm favourite amongst fans. This slow melancholic number featured one of McCluskey’s finest vocal performances, and its appearance on a 4-track sampler cassette suggested that it was considered for single release. Sadly, this never materialised, and the song was performed just once in concert at the Royal Court Theatre in Liverpool, August 1993.

After the superb ‘Christine’, the album somewhat limped over the finishing line with the disappointing closer ‘Only Tears’. McCluskey described the song, thus: “I guess it’s just about sadness at the end of a relationship and how you should be dealing with it.” With the line “When you lose someone you depend on” featuring in the lyrics, some fans often compared the song to Eurythmics’ 1986 hit ‘When Tomorrow Comes’.

In terms of his objective, McCluskey certainly succeeded in making an album that was more electric and 90s-sounding than its predecessor. But, with expectations so high after the enormous success of Sugar Tax , Virgin will have been bitterly disappointed by the poor return on their investment in the follow-up. Much of the blame for its poor performance has been attributed to its production, with McCluskey telling Spin Magazine in 2013: “I programmed it all myself. Then I worked with a producer [Coxon] who reprogrammed it. I wanted to keep my programming and he wanted to keep his programming, so every song had two sets. Boy, was it busy. Way too busy. That’s something that unfortunately I didn’t really get my head around at the time.”

With McCluskey and Coxon pulling the songs in different directions, it would be very easy to point the fingers at the producers. However, the main problem with Liberator is that the songs – on the whole – simply weren’t good enough. There were two notable tracks that almost made it on to the album: ‘Kiss Of Death’ was a ballad that sources close to the band raved about, and there was ‘Twins’ which had been inspired by a Life magazine article about a girl who died in a circus fire in 1946. It’s difficult to speculate whether these songs would have improved the album – McCluskey declared that they were too good to be B-sides.

One other song that could have improved Liberator was ‘Kissing The Machine’, an excellent collaboration with Karl Bartos, but this ended up on the former Kraftwerk legend’s album Esperanto (and, 20 years later, on English Electric ).

The experience proved to be something of a learning curve for McCluskey, who would spend three years crafting Universal ; a far superior album, but one that would ultimately close the book on this particular stage of OMD’s history.

Suggested alternative tracklisting:

Stand Above Me / Can I Believe You / King Of Stone / Dollar Girl / Dream Of Me (Based On Love’s Theme) / Agnus Dei / Every Time / Kissing The Machine / Christine / Best Years Of Our Lives

Thanks to Paul Browne and Mark Crouch

www.omd.uk.com www.omd-messages.co.uk

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• About Author

Barry is a Sussex-based writer and former editor of a local charity magazine. He has previously written for the monthly music magazine Record Collector and various music blogs, including The Electricity Club's sister sites, Messages and Wavegirl . Sharing a birthday with singer Morten Harket, he felt a special affinity with a-ha from an early age, and has written several articles about the band and their members' various side projects. In 2018 he was personally commissioned by the band's songwriter and guitarist, Pål Waaktaar-Savoy, to pen extensive liner notes for the special vinyl edition of Våkenatt , the near-mythical second album by Bridges (a pre-fame band featuring two members of a-ha). His first book a-ha : Down To The Tracks , was published in 2020.

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OMD – Orchestral Manoeuvres in the Dark

With special guest : walt disco, saturday, oct 12 2024, show at 8pm  |   doors at 7pm, electronic | pop, seating charts.

By rights, Orchestral Manoeuvres In The Dark should be in semi-retirement, performing classics like Enola Gay and Maid Of Orleans on the nostalgia festival circuit like so many peers. Instead, they’ve created a landmark album worthy of their finest work. Having made one of their most universally acclaimed albums last time out, when 2017’s The Punishment Of Luxury returned Andy McCluskey and Paul Humphreys to the Top Five for the first time since 1991’s Sugar Tax, the duo have somehow managed to better it. Welcome to Bauhaus Staircase, both OMD’s most explicitly political record and the crowning achievement of their desire to be both Stockhausen and Abba. The universal love shown for The Punishment Of Luxury meant there were doubts about making a new album at all. “The fans and the critics said: ‘You can put The Punishment Of Luxury up against their best work’ and rated it next to.... Read more...

By rights, Orchestral Manoeuvres In The Dark should be in semi-retirement, performing classics like Enola Gay and Maid Of Orleans on the nostalgia festival circuit like so many peers. Instead, they’ve created a landmark album worthy of their finest work. Having made one of their most universally acclaimed albums last time out, when 2017’s The Punishment Of Luxury returned Andy McCluskey and Paul Humphreys to the Top Five for the first time since 1991’s Sugar Tax, the duo have somehow managed to better it.

Welcome to Bauhaus Staircase, both OMD’s most explicitly political record and the crowning achievement of their desire to be both Stockhausen and Abba. The universal love shown for The Punishment Of Luxury meant there were doubts about making a new album at all. “The fans and the critics said: ‘You can put The Punishment Of Luxury up against their best work’ and rated it next to Architecture And Morality or Dazzle Ships,” notes Paul Humphreys. “The reception was so good, we thought: ‘Maybe we should stop now, at the top,’ so the idea of making a new record had some trepidation for us.” McCluskey agrees, explaining: “We’ve worked hard to rebuild ourselves since reforming, and we’re in a wonderful position where we’re cooler than we’ve been for a long time. We wouldn’t forgive ourselves if we released an album where fans said: ‘Oh no, this is the one where they’re a pastiche of themselves.’ If Bauhaus Staircase is to be our last album, we’re going out with a strong statement.” The new album’s beautiful film noir ballad Veruschka exemplifies the determination OMD had to make Bauhaus Staircase an album to rank among their finest. McCluskey reasons: “My attitude is like I say in that song: if you’re too afraid to jump off the cliff, you’ll never learn to fly. We couldn’t keep saying: ‘It’s not going to work.’ You have to keep trying, to see where you end up.”

The impetus to kickstart new explorations came during lockdown when, as McCluskey admits: “I rediscovered the power of total boredom.” He acknowledges he was privileged to have that comfort, but being stuck at home took the singer back to his earliest days as a songwriter: “It was like being a teenager, mum watching Kojak and me thinking: ‘Fuck this, I’m going to my room to write a song.’ For the first time since then, there was nothing else to do. It’s good inspiration.” McCluskey had long wanted to write songs called Anthropocene, Kleptocracy and Bauhaus Staircase. Here was his chance.

Humphreys, meanwhile, used lockdown to revisit his stockpile of ideas. “Andy and I never dispose of a song idea,” he laughs. The music for Veruschka dates back to the unmade second album for Onetwo, Humphreys’ short-lived duo with Propaganda singer Claudia Brucken. “I discovered Veruschka, and Andy immediately said: ‘Oh yeah, I’m having that!’ He’s written such a beautiful lyric for it. Anthropocene was Andy’s concept, but he couldn’t think of the right music for it. I gave Andy a cool track I’d found from years ago, and he said: ‘I’m going to abandon my backing track, this is much more interesting.’” To save anyone Googling, “Anthropocene” is the term for the current era in Earth’s evolution, when mankind is directly affecting it. A spiritual heir of Dazzle Ships’ mordant electro bangers, Anthropocene is a six-minute masterclass in tension as a voiceover starkly intones how mankind is “crushing all diversity” of other species, while essentially remaining a “geological hiccup”. Spoiler alert: the final line is “One million years from now, global human population is zero.”

It’s a song where McCluskey’s boyhood dream to become a paleoanthropologist finally gets to roam around in OMD’s music, and is worth the wait. “I’m fascinated by the various human forms over the past millions of years,” he says. “We as human beings are changing the planet in a physical way, creating our own geological epoch.” A laugh. “The current Anthropocene epoch, that’s the sort of thing I write songs about. This stuff is all in my head and comes out in my lyrics. I’m not the average songwriter. Paul’s track was ‘That’s it!’, then became bigger and bigger, a programming journey.” The ominous narratives on Anthropocene and its companion track, the sinister Evolution Of Species, were achieved by Google’s Text-To-Speak function. “I got bored of vocoders,” smiles McCluskey. “I was looking for alternative ways of putting lyrics into songs that didn’t require me to sing them. The different languages in Evolution Of Species are via Google Translate – I hope it’s done them properly.” If those songs show OMD’s icily electronic side, then Look At You Now, Where We Started and the stunning closer Healing rival any ballads in McCluskey and Humphreys’ 45-year career. “That’s a constant thread in OMD,” acknowledges Humphreys. “We like our pop side: we’ve been blessed with a knack for writing commercial melodies. But there’s always the deeper side too.”

Where We Started manages to convey a world of empathy and solace in just 34 words. “I had nothing more to say than those lyrics,” nods McCluskey. “It’s a song for someone I care deeply about, saying: ‘I’m sorry you’re hurting. I love you and, if you ever need a hug, let’s go back to page one.’ We were all isolated from each other during Covid, concerned for our health and future, but it was also a time of great compassion. Several songs on this album, although it was completely unconsciously, are about love and support in difficult times.” Conversely, the clattering, hectic Kleptocracy is OMD’s greatest straight-up protest song. It was written at the start of lockdown but, as McCluskey points out: “References to Trump, Johnson and Putin are sadly still relevant. They just won’t fuck off.” The line “It doesn’t matter who you vote for, they’ve bought the man you elected” summarises the duo’s disgust at the current state of democracy. “Dazzle Ships was about the Cold War, but we haven’t been so overtly political before,” says Humphreys. “The older we get, the more forthright we get. You have to be politically aware in the current climate, because there’s so much craziness going on that you’re forced into an opinion.”

Kleptocracy’s chewy discourse is wrapped in an absolute earworm. “It’s what we do,” laughs McCluskey. “Enola Gay wasn’t the most palatable lyrical content, but that’s got a very catchy tune.” Protest is also present in Bauhaus Staircase’s title track. Named after German artist Oskar Schlemmer’s 1932 painting, recreated by Roy Lichtenstein in 1988 for his Pop Art series of classics, it’s a nod both to McCluskey’s love of the Bauhaus era, the power of protest art, and his sadness as a trustee of National Museums Liverpool that Governments tend to cut arts funding just when times are hard and we need our souls nourishing. “We knew Bauhaus Staircase had to open the album and Healing had to end it,” McCluskey reveals. “Bauhaus Staircase has this energy that grabs you as soon as the record starts. It starts aggressively, then it just builds and builds until it’s a maelstrom of synths and howling vocals.” The tender Healing is a moment of reflective calm after the myriad emotions preceding it. It’s a rare OMD co-write, with lyrics by McCluskey’s friend, Liverpool singer-songwriter Caroline England, and production from Uwe Schmidt, who records as both lounge star Senor Coconut and glitch artist Atom TM. McCluskey says: “Caroline had said, semi-jokingly, that if I ever have writers’ block she’d write some words for us. I called her bluff.

What Caroline wrote works so well that I feel so comfortable singing Healing. We’re big fans of Atom TM, so I sent Uwe the demo of Healing, asking him to make it sound more modern. He took the rather lumpy musical idea I’d had and created a fantastic ambient electro swirl. Healing is such a beautiful song, emotionally very powerful.” Humphreys and McCluskey envisage Healing as a centrepiece in OMD’s new tour in April, which climaxes with a huge concert at London O2. “That’ll be a landmark, but it’s also terrifying to play such a big show,” admits Humphreys. “We always conceptualise how we look for each album, and we never scrimp on the budget. We love putting on a good show.” McCluskey adds: “Our touring sales have gone up exponentially in the last decade.

We’ve been a bit of a secret band, but now that people have had chance to see us, they tend to come back.” The new album’s other main external influence is David Watts. Mainly known as a rock producer, who helmed Sheffield band The Reytons’ recent No 1 album What’s Rock And Roll?, Watts mixed Kleptocracy and the raucous glam-tinged explosion, Slow Train. “David chose the right songs to work on,” notes Humphreys. “I’m a clean, electro mixer, whereas David brought some rock elements which enhances those songs appropriately.” Humphreys ceded mixing the whole album as he became a second-time father two years ago, explaining: “I’ve got the sweetest kid, who’s taken up quite a bit of my time. I don’t want to work quite as hard as I have in the past, as I don’t want my daughter saying to my wife: ‘Who’s that guy over there?’ ‘That’s actually your dad.’” If real life meant OMD were happy to get help, Bauhaus Staircase remains unmistakably the work of a duo who are still perfectly in sync 45 years after their first gig at legendary Liverpool club Eric’s.

They wouldn’t have released the album if it wasn’t up to The Punishment Of Luxury’s exacting standards. “We might be seen as ‘heritage’, but we’re not going to make a new album just so we can have a new logo on our T-shirts,” insists McCluskey. Or, as McCluskey summarises: “I’m very happy with what we’ve done on this record. I’m comfortable if this is OMD’s last statement.” New album ‘Bauhaus Staircase’ is released October 20th, 2023

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Walt Disco are a band who defy all convention to create a world of their own, truly like no other. Their fearless, unique pop songs are created without constraint, with a message of self expression at the very core of everything they do.

Blending a cacophony of sounds ranging from new wave and glam rock to queer modern art-pop, the Glasgow-based sextet’s youthful songs are as much dancefloor fillers as they are anthemic earworms. With a penchant for memorable songs which resonate across generations, vocalist and band leader James Potter writes earnest lyrics about self exploration and love in the digital age.

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40 facts about elektrostal.

Written by Lanette Mayes

Modified & Updated: 02 Mar 2024

Reviewed by Jessica Corbett

Elektrostal is a vibrant city located in the Moscow Oblast region of Russia. With a rich history, stunning architecture, and a thriving community, Elektrostal is a city that has much to offer. Whether you are a history buff, nature enthusiast, or simply curious about different cultures, Elektrostal is sure to captivate you.

This article will provide you with 40 fascinating facts about Elektrostal, giving you a better understanding of why this city is worth exploring. From its origins as an industrial hub to its modern-day charm, we will delve into the various aspects that make Elektrostal a unique and must-visit destination.

So, join us as we uncover the hidden treasures of Elektrostal and discover what makes this city a true gem in the heart of Russia.

Key Takeaways:

• Elektrostal, known as the “Motor City of Russia,” is a vibrant and growing city with a rich industrial history, offering diverse cultural experiences and a strong commitment to environmental sustainability.
• With its convenient location near Moscow, Elektrostal provides a picturesque landscape, vibrant nightlife, and a range of recreational activities, making it an ideal destination for residents and visitors alike.

Known as the “Motor City of Russia.”

Elektrostal, a city located in the Moscow Oblast region of Russia, earned the nickname “Motor City” due to its significant involvement in the automotive industry.

Home to the Elektrostal Metallurgical Plant.

Elektrostal is renowned for its metallurgical plant, which has been producing high-quality steel and alloys since its establishment in 1916.

Boasts a rich industrial heritage.

Elektrostal has a long history of industrial development, contributing to the growth and progress of the region.

Founded in 1916.

The city of Elektrostal was founded in 1916 as a result of the construction of the Elektrostal Metallurgical Plant.

Located approximately 50 kilometers east of Moscow.

Elektrostal is situated in close proximity to the Russian capital, making it easily accessible for both residents and visitors.

Known for its vibrant cultural scene.

Elektrostal is home to several cultural institutions, including museums, theaters, and art galleries that showcase the city’s rich artistic heritage.

A popular destination for nature lovers.

Surrounded by picturesque landscapes and forests, Elektrostal offers ample opportunities for outdoor activities such as hiking, camping, and birdwatching.

Hosts the annual Elektrostal City Day celebrations.

Every year, Elektrostal organizes festive events and activities to celebrate its founding, bringing together residents and visitors in a spirit of unity and joy.

Has a population of approximately 160,000 people.

Elektrostal is home to a diverse and vibrant community of around 160,000 residents, contributing to its dynamic atmosphere.

Boasts excellent education facilities.

The city is known for its well-established educational institutions, providing quality education to students of all ages.

A center for scientific research and innovation.

Elektrostal serves as an important hub for scientific research, particularly in the fields of metallurgy, materials science, and engineering.

Surrounded by picturesque lakes.

The city is blessed with numerous beautiful lakes, offering scenic views and recreational opportunities for locals and visitors alike.

Well-connected transportation system.

Elektrostal benefits from an efficient transportation network, including highways, railways, and public transportation options, ensuring convenient travel within and beyond the city.

Famous for its traditional Russian cuisine.

Food enthusiasts can indulge in authentic Russian dishes at numerous restaurants and cafes scattered throughout Elektrostal.

Home to notable architectural landmarks.

Elektrostal boasts impressive architecture, including the Church of the Transfiguration of the Lord and the Elektrostal Palace of Culture.

Offers a wide range of recreational facilities.

Residents and visitors can enjoy various recreational activities, such as sports complexes, swimming pools, and fitness centers, enhancing the overall quality of life.

Provides a high standard of healthcare.

Elektrostal is equipped with modern medical facilities, ensuring residents have access to quality healthcare services.

Home to the Elektrostal History Museum.

The Elektrostal History Museum showcases the city’s fascinating past through exhibitions and displays.

A hub for sports enthusiasts.

Elektrostal is passionate about sports, with numerous stadiums, arenas, and sports clubs offering opportunities for athletes and spectators.

Celebrates diverse cultural festivals.

Throughout the year, Elektrostal hosts a variety of cultural festivals, celebrating different ethnicities, traditions, and art forms.

Electric power played a significant role in its early development.

Elektrostal owes its name and initial growth to the establishment of electric power stations and the utilization of electricity in the industrial sector.

Boasts a thriving economy.

The city’s strong industrial base, coupled with its strategic location near Moscow, has contributed to Elektrostal’s prosperous economic status.

Houses the Elektrostal Drama Theater.

The Elektrostal Drama Theater is a cultural centerpiece, attracting theater enthusiasts from far and wide.

Popular destination for winter sports.

Elektrostal’s proximity to ski resorts and winter sport facilities makes it a favorite destination for skiing, snowboarding, and other winter activities.

Promotes environmental sustainability.

Elektrostal prioritizes environmental protection and sustainability, implementing initiatives to reduce pollution and preserve natural resources.

Home to renowned educational institutions.

Elektrostal is known for its prestigious schools and universities, offering a wide range of academic programs to students.

Committed to cultural preservation.

The city values its cultural heritage and takes active steps to preserve and promote traditional customs, crafts, and arts.

Hosts an annual International Film Festival.

The Elektrostal International Film Festival attracts filmmakers and cinema enthusiasts from around the world, showcasing a diverse range of films.

Encourages entrepreneurship and innovation.

Elektrostal supports aspiring entrepreneurs and fosters a culture of innovation, providing opportunities for startups and business development.

Offers a range of housing options.

Elektrostal provides diverse housing options, including apartments, houses, and residential complexes, catering to different lifestyles and budgets.

Home to notable sports teams.

Elektrostal is proud of its sports legacy, with several successful sports teams competing at regional and national levels.

Boasts a vibrant nightlife scene.

Residents and visitors can enjoy a lively nightlife in Elektrostal, with numerous bars, clubs, and entertainment venues.

Promotes cultural exchange and international relations.

Elektrostal actively engages in international partnerships, cultural exchanges, and diplomatic collaborations to foster global connections.

Surrounded by beautiful nature reserves.

Nearby nature reserves, such as the Barybino Forest and Luchinskoye Lake, offer opportunities for nature enthusiasts to explore and appreciate the region’s biodiversity.

Commemorates historical events.

The city pays tribute to significant historical events through memorials, monuments, and exhibitions, ensuring the preservation of collective memory.

Promotes sports and youth development.

Elektrostal invests in sports infrastructure and programs to encourage youth participation, health, and physical fitness.

Hosts annual cultural and artistic festivals.

Throughout the year, Elektrostal celebrates its cultural diversity through festivals dedicated to music, dance, art, and theater.

Provides a picturesque landscape for photography enthusiasts.

The city’s scenic beauty, architectural landmarks, and natural surroundings make it a paradise for photographers.

Connects to Moscow via a direct train line.

The convenient train connection between Elektrostal and Moscow makes commuting between the two cities effortless.

A city with a bright future.

Elektrostal continues to grow and develop, aiming to become a model city in terms of infrastructure, sustainability, and quality of life for its residents.

In conclusion, Elektrostal is a fascinating city with a rich history and a vibrant present. From its origins as a center of steel production to its modern-day status as a hub for education and industry, Elektrostal has plenty to offer both residents and visitors. With its beautiful parks, cultural attractions, and proximity to Moscow, there is no shortage of things to see and do in this dynamic city. Whether you’re interested in exploring its historical landmarks, enjoying outdoor activities, or immersing yourself in the local culture, Elektrostal has something for everyone. So, next time you find yourself in the Moscow region, don’t miss the opportunity to discover the hidden gems of Elektrostal.

Q: What is the population of Elektrostal?

A: As of the latest data, the population of Elektrostal is approximately XXXX.

Q: How far is Elektrostal from Moscow?

A: Elektrostal is located approximately XX kilometers away from Moscow.

Q: Are there any famous landmarks in Elektrostal?

A: Yes, Elektrostal is home to several notable landmarks, including XXXX and XXXX.

Q: What industries are prominent in Elektrostal?

A: Elektrostal is known for its steel production industry and is also a center for engineering and manufacturing.

Q: Are there any universities or educational institutions in Elektrostal?

A: Yes, Elektrostal is home to XXXX University and several other educational institutions.

Q: What are some popular outdoor activities in Elektrostal?

A: Elektrostal offers several outdoor activities, such as hiking, cycling, and picnicking in its beautiful parks.

Q: Is Elektrostal well-connected in terms of transportation?

A: Yes, Elektrostal has good transportation links, including trains and buses, making it easily accessible from nearby cities.

Q: Are there any annual events or festivals in Elektrostal?

A: Yes, Elektrostal hosts various events and festivals throughout the year, including XXXX and XXXX.

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