For the first half of the 1980s, OMD had steadily led the way for a uniquely intuitive synth-pop, scoring hit after hit across the UK and Europe (‘Enola Gay’, ‘Souvenir’, ‘Maid of Orleans’ et al) and crafting perfectly realised albums that matched sonic innovation with an innate understanding of the inner workings of pop music (Organisation, Architecture and Morality, Dazzle Ships).
