Junk Culture is the fifth studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 30 April 1984 by Virgin Records.

The band retained much of their early experimental approach but embraced a wider range of influences than previously, drawing inspiration from pop, dance, Latin and black music.

Junk Culture spawned four singles, including the UK Top 20 entries "Locomotion" and "Talking Loud and Clear", and the club hit "Tesla Girls".

[2][5] OMD and Tench then moved on to AIR Studios in the "paradise setting" of Montserrat, introducing a newly-acquired Fairlight CMI sampler keyboard; the group had followed advice to leave the UK and become tax exiles, in order to preserve royalties from the successful Architecture & Morality (1981).

[2][6] The sessions lasted two months, during which time OMD were inspired by the sounds of local calypso and reggae music, including those of Montserratian musician Arrow.

[2][4] Producer Tony Visconti was recruited to assist with the record, but was unavailable until three weeks later; the band took a break and went travelling, which dispelled simmering doubts about the new material.

[11] McCluskey said of the album's title in 1984, "We began to appreciate that it wasn't enough to simply dismiss popular culture as being worthless, that there is some merit in almost everything; video, computer games, junk food, pop music and so on."

Junk Culture met with a generally positive critical reception,[26][27] although the UK music press showed less enthusiasm than the country's mainstream outlets.

[28] Johnny Black of Smash Hits said "the special moments that turn excellence into magic are fewer and further between", but acknowledged the album as an "accessible" work that "still reveals some brave moves".

"[22] Robin Denselow of The Guardian gave a favourable review indicative of mainstream media opinion,[2] observing a musically diverse record that is "bursting with life and enthusiasm" while offering "an unusual and catchy set of songs".

[7] Internationally, The Sydney Morning Herald's Henry Everingham was pleased that OMD had "finally released an extremely accessible album", on which "nearly every song has the word 'single' stamped".

[17] The Ottawa Citizen's Evelyn Erskine noted a musical eclecticism complemented by a "deft use of experimental techniques", asserting, "Of the countless bands that make up the synth-pop invasion, Orchestral Manoeuvres in the Dark has shown a greater ability to progress creatively than most.

[13] John Bergstrom of PopMatters referred to "immaculate pop singles... set against an eclectic, equally-accomplished backdrop",[33] while AllMusic's Ned Raggett noted "all the best qualities of OMD at their most accessible — instantly memorable melodies and McCluskey's distinct singing voice, clever but emotional lyrics, and fine playing all around.

"[10] Paul Scott-Bates of Louder Than War stated that Junk Culture is "simply one of those timeless albums" and "certainly a worthwhile addition to any music collection whether [an] OMD fan or not.

[35] Tony Kanal of No Doubt – a band heavily influenced by OMD – declared Junk Culture to be a "great" album,[36] while actor and writer Scott Aukerman cited it as an example of the alternative music that "shaped [his] identity".

[37] Both McCluskey and Humphreys concede that the commercial disappointment of 1983's Dazzle Ships caused OMD to become "safer" in their work, but they nevertheless consider Junk Culture to be a strong album.

[40] The deluxe edition included the remastered original album and a bonus disc with a collection of B-sides and extended mixes, many of which had not been previously released on CD.

[42] B-sides "The Avenue", "Wrappup", the re-recorded version of "Julia's Song" and extended mixes of "Tesla Girls", "Never Turn Away" and "Talking Loud and Clear" were available on CD for the first time.