OMD adopted the conventions of German electronic music and applied them to catchy melodies, tying the two together in an act that went on to define the new pop of the 1980s. Anyone with an idea could produce it musically.Īndroid Face Image by bluebudgie from Pixabay The reliance upon synthesizers, instruments that were becoming increasingly affordable and required little knowledge to play, also meant that an artist’s traditional characteristics were being challenged.
German bands like Kraftwerk, Neu!, and Faust made heavy use of synthesizers, followed unconventional song structures, and seemed committed to unfashionable but relevant subject matter like urban development, technology, and the role of the individual in a mechanized society. Listening out for a counter-narrative to everything they heard blaring from UK radios, they found what they were after in experimental German music. The popular music of the 1970s as OMD saw it had become senseless and overblown with uninventive guitar-work, mythological narratives (looking at you, prog-rock), and financial barriers to entry. Taking a detour from the typical source of lyrical inspiration, love, and human experience, OMD lifted their songs from engineering handbooks, historical stories, and wartime politics. Synthesizing intellectual lyrics with popular sensibilities, “Enola Gay” reflects bandmates Andy McCluskey and Paul Humphreys’ efforts to bring the cerebral and often, commonplace, into the mainstream. While the last 40 years have seen OMD produce multiple charting records, break into America with Pretty in Pink‘s “If You Leave”, and more recently, record the critically acclaimed The Punishment of Luxury, it’s “Enola Gay” that most honestly captures the band’s triumphant legacy. “Enola Gay”, Orchestral Manoeuvres in the Dark’s (OMD’s) wonderfully indulgent synthpop classic named after the plane that dropped the bomb on Hiroshima, has just turned 40.