Orchestral Manoeuvres in the Dark -《Crush》[MP3]
专辑英文名: Crush
歌手: Orchestral Manoeuvres in the Dark
音乐风格: 电子
资源格式: MP3
发行时间: 1985年6月17日
地区: 英国
语言: 英语
简介:
压缩码率:192~320kbps CBR
专辑风格:Synthpop
专辑介绍：
OMD(Orchestral Manoeuvres In The Dark)在八十年代末九十年代初长期徘徊于电子大户Virgin公司的旗下，也曾有过好评如潮的历史。Orchestral manoeuvres in the dark是来自英国的组合，新浪潮曲风，令人惊讶的是，他们做出来的音乐一点也不冰冷，反而非常欢快，听了使人心情愉悦。欢快的节奏和电子奏出了非常奇妙的旋律。
OMD乐团（Orchestral Manoeuvres In The Dark）是1980年代的英伦新浪漫乐风New Romantics的优异组合，他们的电子流行音乐除了深諳朗朗上口的流行音乐创作法则之外，更延展了电子音乐的多样性格，像是透过电子乐器构筑一个优雅、华丽的音乐空间，或是藉由电子旋律的律动感营造出一种神采飞扬的听觉快感，而他们的歌唱音色中所蕴藏的忧伤气息也足以牵动著听者的心。OMD乐团历来所发行的10张录音室专辑全都名列英国金榜Top 40之林，其中半数都还挺进了Top 10，乐团为电影【红粉佳人】所灌唱的主题曲〈If You leave〉更是深受乐迷喜爱的新英伦浪漫情歌代表作。OMD乐团在2008年庆祝创团30週年，特地汇整发行一套CD+DVD的精选大碟《三十有成：影音精选Messages: Greatest Hits》与乐迷重新分享那些英伦流行音乐的闪亮之作。
OMD乐团的两位核心成员Andy McCluskey、Paul Humphreys从他们所热爱的德国实验派电子乐团Kraftwerk的音乐世界中找寻创作的灵感，慢慢的摸索出一套独特的电子流行乐风格，OMD乐团成军於1978年，乐团在1979年以他们在曼彻斯特重量级音乐厂牌Factory所发表的首支单曲〈Electricity〉崭露创作锋芒，过了一阵子之后，乐团转投Virgin音乐的附属厂牌DinDisc，乐团在加盟这个厂牌之后，以一连串的畅销曲吸引乐迷的目光。OMD乐团在1980年以〈Enola Gay〉创下乐团首支英国金榜Top 10单曲，这首在电子舞曲的风格之中，描述广岛原子弹爆炸事件的单曲在全球热卖500万张，一举打开乐团的国际知名度。乐团随后以〈Joan Of Art〉、〈Maid Of Orleans〉这两首同时以圣女贞德作为创作素材的单曲接连挺进英国金榜Top 10，乐团在连创排行佳绩之际，突然在创作风格方向上来个急转弯，在1983年推出挑战电子实验乐风的专辑《Dazzle Ships》，专辑中的创作曲〈Telegraph〉宣泄了团员对於当时的政治与宗教氛围的不满情绪，乐团在1984年再度以〈Locomotion〉、〈Talking Loud And Clear〉等单曲攻佔英国金榜Top 20。乐团在1980年代中期因为帮电影【红粉佳人】创作主题曲〈If You leave〉而一举攻陷全美乐迷的心，这首单曲一路直升全美热门单曲榜第四名的高位。乐团在1980年代的尾声决定分道扬鑣，不过，Andy McCluskey持续带领乐团尝试新的乐风，乐团在91年发表一张流行舞曲风的专辑《Sugar Tax》，专辑中的〈Sailing On The Seven Seas〉、〈Pandora's Box〉等单曲进驻英国金榜Top 10。Andy McCluskey在96年决定中止OMD乐团，改走幕后制作与艺人经纪，最耀眼的成就是担任女子团Atomic Kitten的专辑制作，该团的冠军曲〈Whole Again〉就是出自Andy McCluskey之笔。OMD乐团在2008年重燃音乐热情，展开成军30週年的巡迴演唱会。
The lightweight synthesizer pop of Crush represents a nearly complete reinvention of the band's original ideals, trading in the influence of Ultravox and Kraftwerk for the more contemporary fare offered up by The The, Howard Jones, et al. From a commercial standpoint, the move paid off, breaking the band into the U.S. Top 40 on the strength of singles like "So in Love" and "Secret." Anyone looking for signs of OMD's original identity, however, will have to settle for "Joan of Arc" rewritten as a pop song ("La Femme Accident," arguably the album's most pleasant moment), some interesting patterns on "Crush" and "The Lights Are Going Out" that recall Dazzle Ships, the relatively edgy "88 Seconds in Greensboro," and shades of Brian Eno's "Third Uncle" on "The Native Daughters of the Golden West." Switching horses in midstream does allow OMD to cultivate a new audience without losing their U.K. listeners, but it also invites the suggestion that Andy McCluskey and Paul Humphreys were stylemongers rather than electronic visionaries. Producer Stephen Hague keeps the arrangements clean and simple, so much so that it's difficult to hear what (if anything) Martin Cooper and Malcolm Holmes contribute to the final product. Unfortunately, given the lyrics on this album, OMD picked the wrong time to be intelligible (and including a lyric sheet is just begging for trouble). The words to "Crush," "Bloc Bloc Bloc," "Hold On," and "Secret" reveal that melodies really are their strong suit. Crush offers very little of substance; maybe that's always been the case with OMD, and earlier albums simply masked it better by taking the road less traveled.
