Organisation - Orchestral Manoeuvres in the DarkOrganisation. An album from a faraway age when a band could be obscure, enigmatic, industrial, experimental, interesting, moving and still get to number 6 in the charts. Although it had come just months after their debut,
Organisation was light (or dark) years away from the garage prototype synthpop of
OMITD. The move to Advision Studios, the conscription of prog-musician Mike Howlett as producer , a "good haircut" and radical change of wardrobe did wonders for Orchestral Manoeuvres in the Dark, making them one of those rare outfits which suited both NME and Smash Hits.
It's hard for me to be objective about
Organisation, such was its impact way back in the dark winter of 1980. To paraphrase others, men of mystery and imagination came crashing into my little world and nothing would ever be the same again.
But let's try.......The grey and black sleeve, the bleak cover picture, the semi-dark portrait on the back all served to give an indication of what this record was going to be like. You felt angstful just owning the thing.
The upbeat, already-a-hit single
Enola Gay, albeit with a darker message, was there sure enough as the opening track but with its placing at the beginning of the opus the message was clear: Ok, that's the hit out of the way, let's get on with the album proper.
Indeed, it's the gloomy chimes of
2nd Thought which really get the
Organisation ball rolling. "
The order in our lives left some time ago, along the way" softly sings McCluskey to a steady electro beat and synthetic choral track which was to become their trademark. It’s typical of the album: soothing yet disquieting at the same time. Angst you can dance to.
The more angular
VCL XI (get the hidden Kraftwerk reference?) brings us back to the Manoeuvres' more experimental mode with treated piano, irregular thrashing electronic percussion and lyrics which, to this day, remainincomprehensible . With
Motion and Heart - briefly considered as a single - we're back in the pop mode and, although a more disciplined affair compared to it's Peel Session predecessor, it remains one of their most mysterious tracks.
The melancholic and heart breaking
Statues closes side 1. Allegedly a tribute to Ian Curtis RIP ("
The way you, move, I can't explain"), his suicide and the
Closer album are said to be heavy influences on
Organisation.
Statues goes beyond that and lines like "
I tried to care and understand" and the final cry "
I can't imagine how this ever came to be" and fade-out have as much anguish and suffering as the Mancunian's "
When routine bites hard" or "..
people like you find it easy". Warning: this song may make you cry.
End of side one.
Side Two fades in with
The Misunderstanding, a track rescued from McCluskey & Humphrey's The Id days and dutifully darkened for
Organisation. Anger, confusion, frustration. It's all there.
The cover version of Warren & Gordon's
The More I See You is often seen as the black sheep of the
Organisation herd, a track which both McCluskey and Humphreys have since derided and regretted, but the dark twist on the original is perfectly in line with the album, and its minimal synth and drum pads make for top geeky dancing and air-drumming. Believe me.
Humphreys' atmospheric
Promise (singled out by OGWT to promote the album) is a hardly an adequate match to McCluskey's solo efforts, (he would fare better with
Souvenir the following year), but it's a perfect lead into the final, over-six-minutes long
Stanlow, the album's crowning glory; moving, industrial, masterful, majestic and, yes, it's a love song about an oil-refinery on the Wirral.
End of Side Two... end of
Organisation.
An interesting addition to the LP however was a four-track EP of a live performance of
Orchestral Manoeuvres in the Dark at Eric's Club in 1978. The unique performance's experimental instrumentation and atmospheres are well suited to
Organisation, like
Electricity,
Messages and
Enola Gay had never happened. Titles like Introducing Radios and Distance Fades Between Us again give us an idea of the band's combined ethos: the experimental and the sentimental.
Orchestral Manoeuvres in the Dark - a decent haircut did them a world of good
Spandau Ballet - To Cut a Long Story Short
electro-based music which first brought them onto the scene, preferring a more MOR "soul boy" approach within a couple of years with True and all that, suited though it was to the upcoming wine bar culture (itself the logical consequence of the Blitz scene?).
