Q&A: OMD Explores Power, Politics and Pop Music in Newest Record Bauhaus Staircase
INTERVIEW
INTERVIEW
☆ BY KYLEE WIENS ☆
WHEN A BAND RELEASES THEIR 14TH STUDIO ALBUM—it's normal to expect some creative fatigue. Synth-pop pioneers Orchestral Maneuvers in the Dark (OMD) have weathered over four decades in the evolution of electronic sounds; yet, the band’s 2023 release Bauhaus Staircase sounds anything but tired. Pulsating, explosive digital synths and the same shimmering vocals from when the band were just 16 years old—founding members Andy McCluskey and Paul Humphreys continue to reimagine and reinvigorate their sound.
Named after a movement that reshaped architectural design, Bauhaus Staircase finds OMD crafting something of their own architectural movement—angular, abstract, stark and uncompromising. While exploring themes of environmentalism, corrupt governments and the wasteful use of energy resources, the band also explores sonic digital landscapes and multi-textured instrumentation. The result is a buoyant, bright and thought-provoking record that bridges the gap between the band’s history and the future of humanity.
Standout tracks include “Anthropocene,” a biting lamentation on environmental devastation, “Kleptocracy” which aptly reflects on modern political structures, and “Veruschka,” a romantic ballad dedicated to the 1960s German supermodel. The production style is spacious and sleek, balancing digital advancement with the band’s strictly analog roots. The command of Stuart Kershaw replaces the usual sterility of the band’s drum machine, and spunky bass fills by McCluskey infuse a digital glam sensibility into each number. Humphreys practically dances over the keys, exemplifying a creativity and command that would make German Electro-pioneers Kraftwerk proud.
It’s clear that Humphreys and McCluskey are grappling with the state of the world through their music, but they may also be grappling with the legacy of OMD itself. Bauhaus Staircase doesn’t attempt to rewrite the band’s history; rather, it advances the technology of its sound without compromising the political and social messages that have always been embedded in the music. This contradiction—the distance between the political and the aesthetic - is what has always driven OMD forward as a band. From confronting climate change in the 70s, to Post-Hiroshima guilt in the 80s, to far-right resurgences in 2025, the band asserts their morals with mechanical precision and post-punk panache. Bauhaus Staircase is a far cry from a cheap nostalgia-jerker; it’s a sonically and lyrically poignant view into the possibility of a better world.
The Luna Collective recently had the immense honor of speaking to Paul Humphreys before the band’s performance at Cruel World Festival in LA. We chatted about the new album, the impact of new technologies on music, and how the band has maintained their chemistry after over forty years. Read below for the full interview, and be sure to find Bauhaus Staircase on all streaming platforms.
Photography Credit: Ed Miles
LUNA: All right, welcome to Cruel World! How are you feeling?
Paul: A little bit nervous, actually. We haven’t played for about three months, and we’ve got no sound check or anything.
LUNA: Oh no!
Paul: Yeah, but we’ve got a great crew, so it should be fine. It’s all digital now, anyway. We’re not miming or anything, but the technology is digital. When they plug everything in, it should all be exactly like the last show—good to go.
LUNA: Awesome. I want to ask you a few questions about the new album Bauhaus Staircase, and about OMD in general. What were the most important themes or ideas behind the album?
Paul: Well, there are a lot of themes on that record. We've always incorporated ideas about art—design, furniture, that kind of thing—but Bauhaus Staircase is probably one of our most overtly political records. There's "Kleptocracy," "Anthropocene" about what we’re doing to the planet, and other tracks touching on the evolution of species and society.
It’s really just a continuation of what Andy and I have always done—whatever we’re interested in, we write songs about. We're very politically and socially aware, and while we do write the occasional love song, that’s never been our main focus.
From the very beginning—take “Enola Gay,” for example—it’s always been about integrating global issues into our music.
LUNA: Absolutely. Your music has always had that political edge. How do you see the resurgence of '80s music (new wave, post-punk), especially among younger listeners? Do you think there's a connection?
Paul: It’s really interesting that our audience is getting younger as we get older! I think it’s a combination of factors. The digital revolution plays a big part. In my generation, music was tied to art and fashion. You wouldn’t be caught dead listening to your parents’ music.
Now, things are less ageist. It's just about, "Do I like it, or not?" People aren’t dismissing music because it came from a different generation. Algorithms help too—“If you like this, you might like that”—so younger listeners discover us that way.
Also, a lot of newer bands cite us as an influence, and when they tell their audience that, those fans go searching.
And then there’s “If You Leave.” It’s kind of transcended generations, especially in America and Canada. It still gets played at proms because of that Pretty in Pink scene. People go, “Let’s check out the band that did our prom song.”
LUNA: That’s incredible. And kind of building off that, do you think subcultures like goth or post-punk are still relevant in today’s music landscape?
Paul: Absolutely. Subcultures have always been relevant. When we were growing up, punk was the subculture—it was all about rebellion. If you listen to “Electricity,” our first release, it’s basically punk on synths.
In times like these—Trump’s America, the rise of the far right in Britain and Europe—subcultures are more important than ever. People need a voice. They need rebellion. And the arts and subcultures scare those in power because they can’t control them.
It’s like Nazi Germany again—burning books, silencing opposition. Subcultures push back. They speak truth to power.
LUNA: You’ve come a long way since playing on Winston (TEAC Reel-to-Reel Tape Recorder used by OMD between 1978 and 1980)! How do you see technology evolving alongside OMD’s sound?
Paul: We’ve always embraced new technology. Some younger bands today love the old analog stuff we used, and they’ll buy it on eBay. But to us, those machines were just unreliable pieces of junk, though they made sounds we loved!
Now we’ve got way more powerful and reliable tools. We made our last album entirely in a computer. Some younger musicians are horrified by that—they’re like, “Why not use analog synths?” But we’ve always been at the cutting edge of technology. We say, “It sounds analog, doesn’t it?” That’s what matters. We just use the new tools to create the same emotional impact.
LUNA: How do you decide what stays quintessentially "OMD" and what’s allowed to evolve?
Paul: We don’t really have any rules. We’ve never liked repeating ourselves. Technology has always offered us a new palette to play with. When digital synths emerged in the '80s, we followed them. We could have made Architecture & Morality II, and the label would’ve been thrilled. They said, “Do that and you’ll be the next Genesis!”
So instead, we made Dazzle Ships, which people now call our “fractured masterpiece.” It didn’t sell nearly as well, but it was true to our artistic vision. Bands like Radiohead and Moby have cited it as a huge influence.
We never got into music to be rich or famous—we got into it because we felt we had something to say. Fortunately, we’ve made enough money to keep going, but that’s never been the main motivation.
LUNA: Did you ever imagine, back when you were playing in the Id, that you'd still be performing in 2025?
Paul: Honestly? No. Andy and I were just talking about this. He said that back in our 20s, he told me, “If I’m still doing this at 35, shoot me!” So when we got to 35, I asked, “Shall I shoot you now?”
But times change. Pop music used to be a young person’s game, but that’s not true anymore. There's less ageism, and we’re lucky to still be going.
We keep saying we’ll retire, but every time we go on tour, we sell more tickets than the last one. As long as that keeps happening, we’ll keep playing.
LUNA: That’s incredible. And it seems like you all still genuinely enjoy it, and each other.
Paul: We really do. We're lucky—we don’t hate each other like some bands. We feel like brothers. We’ve got an amazing crew who are like family, and we all travel together and have a great time.
Funny thing is, we were only supposed to do one concert—back in Liverpool, just us two kids daring each other to go on stage. Now, we’ve had this incredible career. Every night when we play “Enola Gay” in the second verse, Andy looks at me, I look at him, and we both silently say: “How the hell did we get here?”
LUNA: That’s beautiful. And speaking of that chemistry, what’s the secret to the creative synergy between you and Andy?
Paul: We bring different things to the table. Andy writes most of the lyrics and sings. I handle more of the music and do all the production, mixing, and tour setup. Andy does all the artwork and design. We’ve kind of departmentalized OMD, and we trust each other completely in those roles.
Of course, we sometimes disagree on songs, but if one of us isn’t happy, it usually means something isn’t quite right. We try new ideas, and most of the time, we go with the one that works better.
LUNA: That’s such a healthy dynamic. Did you always know music was the path?
Paul: Not at all. I was going to be an electronics engineer, and Andy wanted to be an archaeologist! I got into electronics as a kid—I couldn’t afford gear, so I’d go around to my aunties’ houses, dig through their cupboards for old radios, desolder the parts, and build noise machines. That’s how it all started. We turned this geeky hobby into a 40-year career. We’re incredibly lucky.
LUNA: Are there any creative projects currently in the works?
Paul: We’ve got a couple things going. We always say, “Let’s make this the last album,” and then we write a few new songs and go, “Hmm, this is good!” So who knows? We both have amazing home studios. If we get an idea, we can lay it down right away. That freedom keeps us inspired.
LUNA: Last question: What would you like to say to your fans, both old and new?
Paul: To the old fans: thank you for sticking with us. To the new fans: hello, and welcome aboard.
LUNA: Perfect. Thank you so much, Paul. I really appreciate it.
Photography Credit: Ed Miles
