The Punishment of Luxury | ||||
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Studio album by | ||||
Released | 1 September 2017 | |||
Studio |
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Genre | Synth-pop | |||
Length | 42:08 | |||
Label | White Noise, 100% | |||
Producer | OMD | |||
Orchestral Manoeuvres in the Dark chronology | ||||
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Singles from The Punishment of Luxury | ||||
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The Punishment of Luxury is the thirteenth studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), and the third since their 2006 reformation. Produced by OMD, it was released on 1 September 2017 by 100% Records in the UK and White Noise elsewhere. [1] In July of that year, the band commenced a tour of North America and Europe in support of the record. [2]
The Punishment of Luxury explores themes of consumerism and First World problems. The album met with favourable reviews, and was named as one of the best and most underrated of 2017. It debuted at number four on the UK Albums Chart with 9,894 copies sold in its first week, [3] making it the band's first album to reach the top 10 in their home country since 1991's Sugar Tax ; the record topped the UK Independent Albums Chart. It reached the top 10 on various European charts, as well as on Billboard 's Dance/Electronic Albums and Independent Albums charts in the United States.
Toward completion of the gruelling recording sessions for English Electric (2013), there were internal doubts about the band's future. Morale had risen after several months of touring the album, however. Keyboardist Paul Humphreys said in August 2013: "We're already talking about what we should be doing next. We've got a great idea for a new album actually." [4] By the turn of 2015, writing of the album had "started in earnest", with song titles "The Punishment of Luxury" and "Evolution of Species" being announced [5] (the latter did not make the album, instead appearing on 2023 follow-up Bauhaus Staircase ). [6]
The Punishment of Luxury takes its name from a 1891 painting by Italian artist Giovanni Segantini. [1] In December 2016, OMD frontman Andy McCluskey expounded: "We've taken that idea and extrapolated it into sort of... a metaphor for modern life, really. First world problems. All of the shit we have to deal with is only a problem that's created for you by some suggestion that came from a marketing man or a PR job that's been done on you." [7]
Humphreys said of the album's musical direction: "We're still trying to maintain our connection with our roots, but we've tried to go a bit more, even more stripped-down than English Electric." McCluskey added: "There's a little bit more sort of crunchy industrial sound in a few things, a bit glitchy-er. But you know, the bottom line is that we have a sense of melody that we just can't throw off." [7] In May 2017, McCluskey noted the band's use of "noises and repetitive patterns". [1]
"Robot Man", a song about emotional honesty, is an homage to English musician and producer Daniel Miller. It was inspired by Miller's 1978 composition, "Warm Leatherette". [8]
The track "La Mitrailleuse" (French for "The Machinegun") [2] was released on 15 May; [1] its Henning M. Lederer-directed video is based on the 1915 painting by C. R. W. Nevinson after which the song is named. [2] The album's first official single, "Isotype", premiered on 29 May and was made available for digital download and streaming the day after. The album's title track was released as the second single on 19 July. "What Have We Done", the only track on the album to feature Humphreys on lead vocals, was released as the third single on 18 September, along with an extended version of the song. [9] A remixed version of "One More Time" followed on 16 February 2018.
The album's cover art was designed by Liverpool-based artist John Petch. [10]
Aggregate scores | |
---|---|
Source | Rating |
Metacritic | 71/100 [11] |
Review scores | |
Source | Rating |
AllMusic | [12] |
The A.V. Club | B+ [13] |
Classic Pop | 4/5 [14] |
God Is in the TV | 9/10 [15] |
Hampshire Chronicle | [16] |
The Irish Times | [17] |
L'Obs | [18] |
PopMatters | [19] |
The Press | [20] |
Uncut | 7/10 [21] |
The Punishment of Luxury received favourable reviews. [22] At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, the album garnered an average score of 71, based on 10 reviews. [11] Tim Russell of God Is in the TV wrote, "OMD have made arguably the best album of 2017... It's brilliant. It's the first album since 1981's multi-million selling Architecture & Morality on which they've succeeded in perfectly balancing the creative tension between their experimental leanings and their ear for a pop tune to create a cohesive whole." [15] Irish Times critic Jennifer Gannon described the record as "synth-pop at its most charming and effortless", [17] while Tim Sendra of AllMusic called it "another strong showing from a band that could have packed it in years ago and become a nostalgia act, but have instead continued to make fine pop art". [12]
Critic Aaron Badgley wrote, "The Punishment of Luxury is simply one of the best albums of the year and an album that will no doubt influence younger bands... once again, [OMD] breaks new ground. Quite an accomplishment." [23] On the other hand, PopMatters ' John Bergstrom observed a "less-than-fresh" anti-consumerism sentiment, which he felt made for a "good album rather than a great one". Bergstrom allowed, however, that much of the material is "on par with the band's best". [19] The Hampshire Chronicle suggested that The Punishment of Luxury had been misinterpreted by some, writing, "This isn't some banal, [Bill] Hicks-esque "Get a soul!" nuke: it's a plaintive look at the brutal consumerist needle and the damage done. And a bloody terrific record to boot." [16] Particular praise was directed at the six-minute "Ghost Star", which multiple reviewers singled out as the highlight of the album. [13] [15] [16]
Journalists featured The Punishment of Luxury in lists of the best albums of 2017, [24] while the Hampshire Chronicle and Salon considered it to be one of the year's most underrated records. [16] [25] God Is in the TV's Tim Russell later named it one of the 20 greatest albums of the 2010s; [26] in a poll of 3,200 Modern Synthpop readers, it was voted the eighth-best synth-pop album of the decade. [27] Critic John Earls argued that "you won't get a better late-period synth-pop classic album" than The Punishment of Luxury. [28] Veteran DJ Richard Blade said, "I was stunned when I listened. The problem was not finding something to play but deciding which track to put on first. It was that good." [29] The Athens Voice declared OMD, on the strength of The Punishment of Luxury, to be "one of the few names of their generation who can still create music that inspires". [30]
Musician Craig "Space March" Simmons named The Punishment of Luxury the best synth-pop album of 2017. [31] In 2020, singer Boy George streamed a cover version of "The View from Here" via his Instagram channel, adding that he wished he had written the song. [32] Among the OMD fanbase, The Punishment of Luxury has come to be regarded as one of the band's great records. [33]
All tracks are written by Paul Humphreys and Andy McCluskey. All tracks produced by OMD
No. | Title | Length |
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1. | "The Punishment of Luxury" | 3:28 |
2. | "Isotype" | 6:10 |
3. | "Robot Man" | 3:00 |
4. | "What Have We Done" | 3:48 |
5. | "Precision & Decay" | 1:44 |
6. | "As We Open, So We Close" | 3:04 |
7. | "Art Eats Art" | 3:20 |
8. | "Kiss, Kiss, Kiss, Bang, Bang, Bang" | 3:00 |
9. | "One More Time" | 3:06 |
10. | "La Mitrailleuse" | 2:05 |
11. | "Ghost Star" | 6:18 |
12. | "The View from Here" | 3:05 |
Credits adapted from the liner notes of The Punishment of Luxury. [34]
OMD
| Additional personnel
|
Chart (2017) | Peak position |
---|---|
Austrian Albums (Ö3 Austria) [35] | 28 |
Belgian Albums (Ultratop Flanders) [36] | 40 |
Belgian Albums (Ultratop Wallonia) [37] | 47 |
Czech Albums (ČNS IFPI) [38] | 60 |
Dutch Albums (Album Top 100) [39] | 95 |
French Albums (SNEP) [40] | 12 |
German Albums (Offizielle Top 100) [41] | 9 |
Irish Albums (IRMA) [42] | 28 |
Irish Independent Albums (IRMA) [43] | 3 |
Polish Albums (ZPAV) [44] | 40 |
Scottish Albums (OCC) [45] | 4 |
Swiss Albums (Schweizer Hitparade) [46] | 44 |
UK Albums (OCC) [47] | 4 |
UK Independent Albums (OCC) [48] | 1 |
US Independent Albums (Billboard) [49] | 3 |
US Top Dance/Electronic Albums (Billboard) [50] | 7 |
Orchestral Manoeuvres in the Dark (OMD) are an English electronic band formed on the Wirral, Merseyside, in 1978. The group consists of founding duo and principal songwriters Andy McCluskey and Paul Humphreys, along with Martin Cooper and Stuart Kershaw (drums). Regarded as pioneers of electronic music, OMD combined an experimental, minimalist ethos with pop sensibilities, becoming key figures in the emergence of synth-pop; McCluskey and Humphreys also introduced the "synth duo" format to British popular music. In the United States, the band were an early presence in the MTV-driven Second British Invasion.
George Andrew McCluskey is an English singer, songwriter, musician and record producer. He is best known as the lead singer and bass guitarist of the electronic band Orchestral Manoeuvres in the Dark (OMD), which he founded alongside keyboard player Paul Humphreys in 1978: McCluskey has been the group's sole constant member. He has sold over 40 million records with OMD, and is regarded as a pioneer of electronic music in the UK. McCluskey is noted for his frenetic onstage "Trainee Teacher Dance".
Paul David Humphreys is an English singer, songwriter and musician. He is best known as the keyboardist and secondary vocalist of the electronic band Orchestral Manoeuvres in the Dark (OMD), which he founded alongside lead singer and bassist Andy McCluskey in 1978. The Quietus remarked, "If, roughly speaking, McCluskey is the intellect and inquisitive nature in the group, then Humphreys is the heart." The pair have been recognised as pioneers of electronic music.
Dazzle Ships is the fourth studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 4 March 1983 by Virgin Records. Its title and cover art allude to a painting by Vorticist artist Edward Wadsworth based on dazzle camouflage, titled Dazzle-ships in Drydock at Liverpool.
Junk Culture is the fifth studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 30 April 1984 by Virgin Records. After the commercial disappointment of the experimental Dazzle Ships (1983), OMD and Virgin intended for the group to shift towards a more accessible sound on its follow-up release. The band retained much of their early experimental approach but embraced a wider range of influences than previously, drawing inspiration from pop, dance, Latin and black music. Frontman Andy McCluskey characterised Junk Culture as "the catchiest, poppiest album [OMD] ever made".
Architecture & Morality is the third studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 6 November 1981 by Dindisc. 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. 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.
Organisation is the second studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 24 October 1980 by Dindisc. On Organisation the group worked with a producer for the first time, enlisting former Gong bass player Mike Howlett, while session musician Malcolm Holmes became the band's full-time drummer. The record is noted for its dark, melancholic tone in comparison to other OMD releases.
Orchestral Manoeuvres in the Dark is the debut studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 22 February 1980 by Dindisc. Recorded at the group's Liverpool studio, it showcased their minimal synth-pop style and peaked at number 27 on the UK Albums Chart. "Electricity" and "Red Frame/White Light" were released as singles; a re-recorded version of "Messages" provided OMD with their first hit in the UK, reaching number 13.
Crush is the sixth studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 17 June 1985 by Virgin Records. It is the first of two OMD studio albums to be produced by Stephen Hague. Aimed primarily at the US market, Crush is notable for moving the group towards a more polished sound, although elements of earlier experimentation are still present. During recording the band employed a greater use of organic instrumentation than in the past.
Universal is the tenth studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 2 September 1996 by Virgin Records. Frontman Andy McCluskey opted for a more organic, acoustic sound on the record, which peaked at number 24 on the UK Albums Chart. It was generally well received by music critics, although the British media's overall resistance to OMD – who had been rendered unfashionable by the prevalence of grunge and indie rock – prompted McCluskey to dissolve the group. Universal was their last album until 2010's History of Modern.
The Pacific Age is the seventh studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 29 September 1986 by Virgin Records. It was the last of two OMD studio albums produced by Stephen Hague, after Crush (1985). The record exhibits the same refined production values as its predecessor while venturing into the realm of mid-1980s sophisti-pop, retreating further from the group's experimental beginnings.
Sugar Tax is the eighth studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 7 May 1991 by Virgin Records. It was the group's first studio album since 1986's The Pacific Age, and the first of three recorded without co-founder Paul Humphreys, who had departed in 1989. Featuring singer Andy McCluskey alongside a new backing band, Sugar Tax leans towards the then-prevalent dance-pop genre, with McCluskey's songwriting at times being influenced by the breakdown of his relationship with Humphreys.
Liberator is the ninth studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 14 June 1993 by Virgin. Recorded by OMD frontman Andy McCluskey along with musicians enlisted for the multi-million selling Sugar Tax (1991), the album ventures further into the dance-pop style explored by its predecessor.
The Best of OMD is a compilation album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released in 1988; marking a decade since the band's beginnings. The record essentially delineates the group's experimental early years from their pop-oriented later work: side one features recordings from 1979 to 1984, while side two is drawn from the group's 1984–1988 efforts.
"Electricity" is the 1979 debut single by English electronic band Orchestral Manoeuvres in the Dark (OMD), featured on their eponymous debut album the following year. Andy McCluskey and Paul Humphreys sing the lead vocals on the track together in unison. Recognised as one of the most influential singles of its era, "Electricity" was integral to the rise of the UK's synth-pop movement. It has garnered praise from music journalists and other recording artists.
"Souvenir" is a song written by Paul Humphreys and Martin Cooper of English electronic band Orchestral Manoeuvres in the Dark (OMD), and released as the first single from the group's 1981 album Architecture & Morality. Sung by Humphreys, the track is characterised by its use of slowed-down choral loops, and showcases OMD's early approach of utilising a synthesizer hook in place of a vocal chorus. The song has garnered praise from critics and fellow artists.
"Dreaming" is a song by English electronic band Orchestral Manoeuvres in the Dark initially released in January 1988 as a single from their compilation album The Best of OMD.
History of Modern is the eleventh studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 20 September 2010 by 100% Records. It is their first album since 1996, and the first to feature the classic four-piece OMD line-up since 1986's The Pacific Age. It was recorded remotely, with band members compiling the tracks via the Internet.
English Electric is the twelfth studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), and their second since the 2006 reformation of the group. Preceded by lead single "Metroland" on 25 March 2013, it was released on 5 April by 100% Records. Unlike predecessor History of Modern (2010), which was compiled remotely via the Internet, English Electric saw OMD co-founders Andy McCluskey and Paul Humphreys write and record in person, with the aim of recreating their artistic chemistry in years past. The album was largely inspired by McCluskey's then-recent divorce.
Bauhaus Staircase is the fourteenth studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), and the fourth since their 2006 reformation. Released on 27 October 2023 by White Noise Records, it is their first album in six years since The Punishment of Luxury (2017). The record was largely inspired by world politics during the late 2010s and early 2020s. Its release was preceded by three singles: the title track, "Slow Train", and "Veruschka".
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