![]() ![]() McCluskey felt the title Architecture & Morality represented the interplay between the human and mechanical aspects of OMD: "We had the 'architecture', which was the technology, the drum machines, the rigid playing, the attempt to break out of the box by playing specifically crafted sounds, and the 'morality', the organic, the human, the emotional touch, which we brought naturally." Ladly, who was also a designer, was the girlfriend of Peter Saville, the album's sleeve designer, at the time. Īccording to the album's credits, its title was suggested to the band by Martha Ladly (formerly of Martha and the Muffins), who had read the 1977 book Morality and Architecture by David Watkin. ![]() All of these measures combined to produce a more naturalistic, emotive sound than on previous OMD releases. The group introduced other new instruments including prominent guitars on opening track "The New Stone Age", whose sound was intended to startle the OMD audience. Musically, the album is noted for making liberal use of those samples, as well as the Mellotron, a mechanical tape-replay keyboard. Ī catalyst in the development of OMD's new sound was Hughes using the band's studio to manipulate choral samples he had recorded. During his absence he formed Godot with former OMD session musician David Hughes. Instrumentalist Martin Cooper left and re-joined the group during the making of the album, missing the bulk of the sessions. It's just trying to understand why people need religion and believe in it." The group spent two months recording at The Manor, Shipton-on-Cherwell, with additional recording completed at the band's own Gramophone Suite in Liverpool. McCluskey informed Melody Maker at the time, "I haven't gone and 'got God'. Frontman Andy McCluskey, a longtime atheist, told how the band "found a lot of influence in the emotional power of religious music". OMD have staged multiple tours based around the album.īackground During recording, the band introduced a number of new instruments to their sound palette, including the Mellotron.ĭuring the initial sessions for Architecture & Morality, OMD were looking for a new musical direction. The record became a commercial success, selling over four million copies and spawning three international hit singles – " Souvenir", " Joan of Arc" and " Maid of Orleans" – which together sold eight million copies. Architecture & Morality has also featured in "all-time" lists, including the book, 1001 Albums You Must Hear Before You Die. It has been recognised as a seminal album of its era and the synth-pop genre, appearing in rankings of the best records of 1981 and the wider decade. The record met with lukewarm reviews, but garnered acclaim from critics and other artists in the following years. The artwork was designed by longtime OMD collaborator Peter Saville, along with associate Brett Wickens, while its title was derived from the book Morality and Architecture by David Watkin.Īrchitecture & Morality reached number three on the UK Albums Chart, and was a top-10 entry across Europe. Inspired by religious music, the group sought to broaden their musical palette by utilising elaborate choral samples, the Mellotron, and other new instruments to create a more naturalistic, emotive sound. Released: 17 June 1982 ( Benelux only) Īrchitecture & Morality is the third studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 6 November 1981 by Dindisc. " Maid of Orleans (The Waltz Joan of Arc)". ![]()
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