In a parallel universe, Onetwo would have been an enormous electronic supergroup. The duo of Claudia Brücken, formerly of Propaganda, and Paul Humphreys from Orchestral Manoeuvres in the Dark, and a collaboration with Martin L. Gore of Depeche Mode, really should have been enough alone to guarantee a couple of number one hits. But this is the twenty-first century, and anyone above the age of 25 who who keeps their clothes on is considered “cult”.
So Onetwo‘s brief career began in 2004, with an EP entitled Item, and three years later came the one and only album, Instead. It opens with the glorious two-part The Theory of Everything. A great introduction to the warm synth and simple vocals that characterise the duo, it is however somewhat overshadowed by Sequential, a beautifully evocative piece that must be one of the finest pop songs never to make the charts.
Home (Tonight) continues the theme, and while for the most part this is an album where the tracks work together to form something brilliant, rather than always trying to stand out on their own, there’s plenty to enjoy here too. Similarly Signals, one of just two tracks on here from the original 2004 EP, is another gentle and beautiful song.
The really unexpected moment comes with a cover of Pink Floyd‘s Have a Cigar, which works well and sounds great, but you are left wondering somewhat how on earth it came to be recorded and included here. There’s a certain logic when it mixes into another cover, this time of Cat Power‘s I Don’t Blame You, with Humphreys on lead vocals, a voice barely heard since, but just about recognisable from OMD‘s Souvenir.
Then comes Cloud Nine, definitely the best moment on here – in fact, it’s probably one of the finest songs of the decade, in spite of the opening “shalalalalala” from Brücken. Featuring the writing talents and guitar work of Martin L. Gore, somehow the chords and warm synth sounds come together perfectly. Also worth mentioning is that it features the synth work of friend of this blog Jon Russell, also known as Jonteknik.
If there was any doubt that Onetwo were in fact a synthpop supergroup, Andy McCluskey gets a writing credit on the lovely Anonymous, and perhaps unsurprisingly, there is a bit of an OMD feel to it, particularly in the chorus. Then Heaven has a bit of an end-of-album feel, even though there’s still plenty to come after it. There’s a pleasant ethereal other-worldliness to it, and while there’s not been anything particularly dark or violent up to this point, it still makes for a welcome change of pace.
It’s always nice to hear singers using their native language, and so it is with Kein Anschluß (which, interestingly, by 2007, was actually a misspelling). I suspect it’s partially intended as a nod to some of the duo’s influences from Brücken’s homeland, with its rhythmic electronic beats and almost Gregorian sounds. It’s easily one of the best songs on here.
After another downtempo moment with The Weakness in Me, you finally have to accept that it’s time for the closing track A Vision in the Sky, a sweet and memorable pop song with a gentle swing pattern and an enormous choral pad backing. This is entirely how this album should end – with something epic and unforgettable. If only it had sold a few more copies.
But ultimately Onetwo‘s downfall was that the seventeen year romantic partnership of Brücken and Humphreys meant an inevitable end to their combined musical career, but the 2006 reformation of the original line-up of Orchestral Manoeuvres in the Dark had already put paid to most of Humphreys’s time commitments. So sadly, we’re left with just one album from Onetwo, completely forgotten but entirely brilliant, Instead.
You can still find Instead at all major retailers.