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* SeinfeldIsUnfunny: The band was hailed as one of the blueprints of SynthPop in the '80s, but as time went on they lost most of their edge as the genre faded from experimental to overtly commercial.
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* TrueArtIsIncomprehensible: ''Dazzle Ships'', the band's artsiest and most abstract album, is also considered arguably their absolute greatest in hindsight.
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* TrueArtIsAngsty / TrueArtIsIncomprehensible: ''Dazzle Ships'', the band's artsiest and most abstract album, is also considered arguably their absolute greatest in hindsight.
to:
* TrueArtIsAngsty / TrueArtIsIncomprehensible: ''Dazzle Ships'', the band's artsiest and most abstract album, is also considered arguably their absolute greatest in hindsight.
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* SugarWiki/AwesomeMusic: "Joan of Arc (Maid of Orleans)", and all of their output up to ''Crush''.
to:
* SugarWiki/AwesomeMusic: "Enola Gay", "Joan of Arc (Maid of Orleans)", and all of their output up to ''Crush''.
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** "Dancing" from their first album, and "I Betray my Friends" as a B - side from their earlier singles.
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** "Dancing" from their first album, and "I Betray my Friends" as a B - side B-side from their earlier singles.early single "Red Frame/White Light".
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* SeinfeldIsUnfunny: The band was hailed as one of the Blueprints of Synth-Pop in the '80s, but as time went on they lost most of their edge as the genre faded from experimental to overtly commercial.
* SignatureSong: "Souvenir", "Electricity", "Enola Gay", "Tesla Girls", and "If You Leave", all in chronological order. As for albums, ''Architecture & Morality'', ''Crush'', and their SelfTitledAlbum.
* SeasonalRot: While ''Junk Culture'' and ''Crush'' are retrospectively respected among the music community, it marked a "beginning of the end" phase as the band was no longer at the height of their earlier indie output and had been strongarmed into only churning out radio-friendly material as a result of the poor response towards ''Dazzle Ships''. By the time ''Pacific Age'' released, the band had lost most of their relevance in the electronic music scene and were considered nothing more than washed-up trend-chasers.
* SignatureSong: "Souvenir", "Electricity", "Enola Gay", "Tesla Girls", and "If You Leave", all in chronological order. As for albums, ''Architecture & Morality'', ''Crush'', and their SelfTitledAlbum.
* SeasonalRot: While ''Junk Culture'' and ''Crush'' are retrospectively respected among the music community, it marked a "beginning of the end" phase as the band was no longer at the height of their earlier indie output and had been strongarmed into only churning out radio-friendly material as a result of the poor response towards ''Dazzle Ships''. By the time ''Pacific Age'' released, the band had lost most of their relevance in the electronic music scene and were considered nothing more than washed-up trend-chasers.
to:
* SeinfeldIsUnfunny: The band was hailed as one of the Blueprints blueprints of Synth-Pop SynthPop in the '80s, but as time went on they lost most of their edge as the genre faded from experimental to overtly commercial.
* SignatureSong:"Souvenir", "Enola Gay", followed more or less closely by "Electricity", "Enola Gay", "Souvenir", "Joan of Arc", "Maid of Orleans", "Locomotion", "Sailing on the Seven Seas" and "Tesla Girls", and Girls". Or, in the US, it's "If You Leave", all in chronological order. Leave".
** As foralbums, albums: ''Architecture & Morality'', ''Crush'', ''Dazzle Ships'', ''Organisation'', and their SelfTitledAlbum.SelfTitledAlbum. Or, in the US, ''Crush''.
* SeasonalRot: While ''Junk Culture'' and ''Crush'' are retrospectively respected among the music community, it marked a "beginning of the end" phase as the band was no longer at the height of their earlier indie output and had been strongarmed into only churning out radio-friendly material as a result of the poor response towards ''Dazzle Ships''. By the time''Pacific ''The Pacific Age'' was released, the band had lost most of their relevance in the electronic music scene and were considered nothing more than washed-up trend-chasers.
* SignatureSong:
** As for
* SeasonalRot: While ''Junk Culture'' and ''Crush'' are retrospectively respected among the music community, it marked a "beginning of the end" phase as the band was no longer at the height of their earlier indie output and had been strongarmed into only churning out radio-friendly material as a result of the poor response towards ''Dazzle Ships''. By the time
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* TrueArtIsAngsty / TrueArtIsIncomprehensible: ''Dazzle Ships'', the band's artsiest and most abstract album, is also considered their absolute greatest in hindsight.
to:
* TrueArtIsAngsty / TrueArtIsIncomprehensible: ''Dazzle Ships'', the band's artsiest and most abstract album, is also considered arguably their absolute greatest in hindsight.
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** ''Dazzle Ships'' was initially met with a downright hostile response from fans and critics who saw it as pretentious and self-indulgent, but as time went on the album's abstract, avant-garde style became more and more appreciated, to the point where it's now considered OMD's creative high point.
** Also the band itself-- they suffered a critical backlash both from ''Dazzle Ships'' (too experimental) and their subsequent albums (too commercial) but the 2000s reissues and subsequent reformation restored their reputation.
** Many of their later pop-oriented albums like ''Junk Culture'' and ''Crush'', despite being highly popular in the UK and US were hated by the music press due to them seeing it as an overreaction to the poor reception of the avant-garde ''Dazzle Ships'', with the band being accused of trend-following. Of course, during the 2000s and 2010s they're hailed as the band's best works, perhaps even trumping ''Architecture & Morality''.
** Also the band itself-- they suffered a critical backlash both from ''Dazzle Ships'' (too experimental) and their subsequent albums (too commercial) but the 2000s reissues and subsequent reformation restored their reputation.
** Many of their later pop-oriented albums like ''Junk Culture'' and ''Crush'', despite being highly popular in the UK and US were hated by the music press due to them seeing it as an overreaction to the poor reception of the avant-garde ''Dazzle Ships'', with the band being accused of trend-following. Of course, during the 2000s and 2010s they're hailed as the band's best works, perhaps even trumping ''Architecture & Morality''.
to:
** ''Dazzle Ships'' was initially met with a downright hostile response from fans and critics who saw it as opaque, pretentious and and/or self-indulgent, but as time went on the album's abstract, avant-garde style became more and more appreciated, to the point where it's now considered OMD's creative high point.
** Also the banditself-- itself -- they suffered a critical backlash both from ''Dazzle Ships'' (too experimental) and their subsequent albums (too commercial) but the 2000s reissues and subsequent reformation and well-regarded new material restored their reputation.
** Many of their later pop-oriented albums like ''Junk Culture'' and ''Crush'', despite being highly popular in the UK and US were hated by the music press due to them seeing it as an overreaction to the poor reception of the avant-garde ''Dazzle Ships'', with the band being accused of trend-following. Of course, during the 2000s and 2010s they're hailed in some quarters as the band's best works, perhaps even trumping ''Architecture & Morality''.
** Also the band
** Many of their later pop-oriented albums like ''Junk Culture'' and ''Crush'', despite being highly popular in the UK and US were hated by the music press due to them seeing it as an overreaction to the poor reception of the avant-garde ''Dazzle Ships'', with the band being accused of trend-following. Of course, during the 2000s and 2010s they're hailed in some quarters as the band's best works, perhaps even trumping ''Architecture & Morality''.
