Weathering an "uncool" image and a degree of hostility from music critics, the band achieved popularity throughout Europe with the 1980 anti-war song "Enola Gay", and gained further recognition via Architecture & Morality (1981) and its three hit singles.

OMD embraced a more radio-friendly sound on Junk Culture (1984); this change in direction led to greater success in the US, and spawned hits including "If You Leave" (from the 1986 film Pretty in Pink).

McCluskey later founded girl group Atomic Kitten, for whom he served as a principal songwriter and producer, while Humphreys formed the duo Onetwo alongside lead vocalist Claudia Brücken of Propaganda.

[23][24] OMD began to gig regularly as a duo, performing to backing tracks played from a TEAC 4-track tape-recorder christened "Winston" (after the antihero of George Orwell's novel Nineteen Eighty-Four).

[22] The album showcased the band's live set at the time, and included some guest drums from former Id drummer Malcolm Holmes and saxophone from former Dalek I Love You member Martin Cooper.

"[50] In 1983, the band lost commercial momentum somewhat, with the release of their more experimental fourth studio album Dazzle Ships, produced by Rhett Davies, perhaps best known for his previous work with Roxy Music and Brian Eno.

[13] In September 1986, the same six piece line-up also released their seventh studio album, The Pacific Age, but the band began to see their critical and public popularity wane notably in the UK.

Although both Liberator and Universal produced minor hits, McCluskey retired OMD in late 1996, having faced waning public interest amid the grunge and Britpop movements.

[69][70] Post-1996, McCluskey decided to focus on songwriting for such Liverpool-based acts as Atomic Kitten and Genie Queen, and trying to develop new Merseyside artists from his Motor Museum recording studio.

[13] "The Future Will Be Silent", a 500-copy limited edition 10-inch picture disc EP from English Electric, was made available for Record Store Day 2013, and included a then-exclusive non-album track titled "Time Burns".

[91][92] For Record Store Day 2015, a 1000-copy limited edition 10-inch EP of "Julia's Song (Dub Version)" from Junk Culture was made available, which includes an exclusive non-album track titled "10 to 1".

OMD performed a one-off concert at the Royal Albert Hall, London on 9 May 2016 to a sell-out crowd, playing both Architecture & Morality and Dazzle Ships in their entirety, along with other songs from before 1983.

[106] Also that year, OMD celebrated the 40th anniversary of 1981's Architecture & Morality with a UK tour, and released a triple-vinyl set of the album's singles containing associated B-sides, demo recordings, and live tracks.

[107] In March 2022, a pair of concerts with a heavy emphasis on the group's more experimental work (rescheduled from September 2020), took place at the Royal Albert Hall, with a live album based on the shows released through the OMD store.

[13][118] Spin wrote that "OMD set about reinventing punk with different applications of dance beats, keyboards, melodies, and sulks", rejecting the genre's "sonic trappings but not its intellectual freedom".

[139] Journalist Hugo Lindgren noted that the group were perceived as "oddballs, freaks" on the Liverpool scene,[13] while McCluskey has identified himself and Humphreys as "synth punks" and "complete geeks".

[148] Facing potential excision from Virgin Records, OMD moved towards a more accessible sound on the black music-influenced Junk Culture (1984); they also donned more vibrant garments on the album's accompanying tour.

"[159] On the other hand, bassist Tony Kanal of No Doubt told how his group experimented with OMD-esque "John Hughes prom-scene movie moment kind of songs", adding that "Junk Culture is great".

[161] The group themselves describe Junk Culture as an enjoyable "collection of songs" as opposed to a "deep, conceptual" record,[162] and argue that Crush features some strong material despite being hastily written and excessively produced.

[4][163] Critic Jessica Bendinger reflected on OMD's stylistic journey by the late 1980s, saying that "their music has been colored by continual exploration... which has run the gamut from Gregorian-chant-inspired anthems of love to a union of Orchestral-Motown.

[197][198] The group were influential on U2, whose frontman, Bono, adorned his bedroom wall with a poster of their debut album cover; bandmate Adam Clayton later contributed to the official biography, OMD: Pretending to See the Future (2018).

[200] OMD were also influential on industrial artists such as Nine Inch Nails,[201][202] Skinny Puppy's Nivek Ogre,[203] and Front Line Assembly's Rhys Fulber, who observed an "amazing" combination of "art, experimentation and pop".

[186] OMD have garnered praise from other 1980s peers including Trevor Horn,[81] Toyah Willcox,[23] the Human League's Philip Oakey,[186] Thompson Twins' Tom Bailey,[186] and Mute Records founder Daniel Miller,[186] while Gary Numan credited the group for "some of the best pop songs ever written".

[186] Frontman McCluskey has gained the admiration of musicians such as Paul McCartney,[206] Heaven 17's Martyn Ware,[207] The Teardrop Explodes's David Balfe,[186] and Joy Division's Peter Hook, who labelled him a "really underrated" talent.

[209] They became an early influence on performers including Orbital,[210] David Guetta,[211] Paul van Dyk,[212] Mike Paradinas,[213] and Moby, who cited the band as "synth heroes" and a critical factor in his career choice.

[174][214] Among rock-oriented artists, OMD have inspired the likes of No Doubt,[160] the Killers,[215][216] the xx,[17] Barenaked Ladies,[217] MGMT,[218] AFI,[186][219] LCD Soundsystem,[215][220] and James Mercer of the Shins and Broken Bells.

"[221] The group have also influenced pop acts such as Gary Barlow,[27] Robyn,[215] La Roux,[17] Peter Bjorn and John,[222] Neil Hannon,[223] and Belle and Sebastian's Stevie Jackson.

"[225] The experimental Dazzle Ships has influenced various artists, including Arcade Fire (and orchestrator Owen Pallett),[18][226] Radiohead,[18][227] Death Cab for Cutie,[228] Saint Etienne,[122] Future Islands,[229] and producer Mark Ronson.

[234][235] The synth-pop acts Our Daughter's Wedding and Hot Chip paid "homage" to OMD in their work,[236][237] while indie rock group Low wrote "Cue the Strings" (2005) as a "shout-out" to the band.

[239] The group's influence extends to indie folk singer Sharon Van Etten,[240] alternative metal band Deftones,[241] country duo Sugarland,[242] actor/writer Scott Aukerman,[243] novelist Anna Smaill,[244] filmmaker Noah Baumbach,[245][246] physicist Brian Cox,[247] and musician/producer Steven Wilson, who has worked in varied genres.