IN: The Beatles were an English rock band formed in Liverpool in 1960. With members John Lennon, Paul McCartney, George Harrison and Ringo Starr, they became widely regarded as the foremost and most influential music band. Rooted in skiffle, beat and 1950s rock and roll, the Beatles later experimented with several musical styles, ranging from pop ballads and Indian music to psychedelia and hard rock, often incorporating classical elements and unconventional recording techniques in innovative ways. In 1963 their enormous popularity first emerged as "Beatlemania"; as the group's music grew in sophistication, led by primary songwriters Lennon and McCartney, the band were integral to pop music's evolution into an art form and to the development of the counterculture of the 1960s.

In Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever, Scott Schinder and Andy Schwartz describe the Beatles' musical evolution: In their initial incarnation as cheerful, wisecracking moptops, the Fab Four revolutionised the sound, style, and attitude of popular music and opened rock and roll's doors to a tidal wave of British rock acts. Their initial impact would have been enough to establish the Beatles as one of their era's most influential cultural forces, but they didn't stop there. Although their initial style was a highly original, irresistibly catchy synthesis of early American rock and roll and R&B, the Beatles spent the rest of the 1960s expanding rock's stylistic frontiers, consistently staking out new musical territory on each release. The band's increasingly sophisticated experimentation encompassed a variety of genres, including folk-rock, country, psychedelia, and baroque pop, without sacrificing the effortless mass appeal of their early work. In The Beatles as Musicians, Walter Everett describes Lennon and McCartney's contrasting motivations and approaches to composition: "McCartney may be said to have constantly developed - as a means to entertain - a focused musical talent with an ear for counterpoint and other aspects of craft in the demonstration of a universally agreed-upon common language that he did much to enrich. Conversely, Lennon's mature music is best appreciated as the daring product of a largely unconscious, searching but undisciplined artistic sensibility." Ian MacDonald describes McCartney as "a natural melodist - a creator of tunes capable of existing apart from their harmony". His melody lines are characterised as primarily "vertical", employing wide, consonant intervals which express his "extrovert energy and optimism". Conversely, Lennon's "sedentary, ironic personality" is reflected in a "horizontal" approach featuring minimal, dissonant intervals and repetitive melodies which rely on their harmonic accompaniment for interest: "Basically a realist, he instinctively kept his melodies close to the rhythms and cadences of speech, colouring his lyrics with bluesy tone and harmony rather than creating tunes that made striking shapes of their own." MacDonald praises Harrison's lead guitar work for the role his "characterful lines and textural colourings" play in supporting Lennon and McCartney's parts, and describes Starr as "the father of modern pop/rock drumming".
QUESTION: What is the most unique fact in the article?
IN: Orchestral Manoeuvres in the Dark (OMD) are an English electronic music band formed in Wirral, Merseyside in 1978. Spawned by earlier group The Id, the outfit is composed of co-founders Andy McCluskey (vocals, bass guitar) and Paul Humphreys (keyboards, vocals), along with Martin Cooper (various instruments) and Stuart Kershaw (drums); McCluskey is the only constant member. OMD released their debut single, "Electricity", in 1979, and gained popularity throughout Europe with the 1980 anti-war song "Enola Gay".

Critic Hugo Lindgren wrote that OMD have cultivated a "legacy as musical innovators". In February 2007 a Scotsman journalist said: "If Kraftwerk were the Elvis Presley of synth-pop, then Orchestral Manoeuvres in the Dark were its Beatles." In 2008, American publication The A.V. Club noted that McCluskey and Humphreys were "often labeled as the 'Lennon-McCartney of synth-pop'." In a 2008 piece on OMD, The Quietus magazine editor John Doran called them "the only Liverpool band to come near to living up to the monolithic standards of productivity and creativity set in place by the Beatles", and asserted: "Orchestral Manouevres in the Dark are not one of the best synth bands ever: they are one of the best bands ever." Veteran BBC DJ Simon Mayo described OMD as "the fathers of electronic music in this country [the UK]." OMD's experimental brand of synth-pop has garnered limited mainstream attention. The group generally eschew choruses, replacing them with synthesizer lines, and opt for unconventional lyrical subjects such as war and machinery; the BBC wrote that "OMD were always more intellectual" than "contemporaries like Duran Duran and Eurythmics". The band also rejected celebrity status and strove "to have no image". Despite the group's experimentation, they had an established knack for pop hooks; AllMusic critic Mike DeGagne wrote that OMD's music was "a step above other keyboard pop music of the time, thanks to the combination of intelligently crafted hooks and colorful rhythms". DeGagne's colleague Jon O'Brien remarked that the outfit were "ahead of their time". McCluskey in 2010 opined that OMD had become "the forgotten band" (he had predicted in 1981, at the peak of the group's popularity, that they would soon be forgotten). The band have nonetheless earned a growing cult following. OMD have come to be regarded as one of the great Liverpool acts of the 1980s, and pioneers of the synth-pop genre. Architecture & Morality (1981), regarded as the group's seminal work, had sold more than 4 million copies by early 2007; Sugar Tax (1991), the album that marked a commercial renaissance for the band, had sold more than 3 million by the same time period. The experimental Dazzle Ships (1983), while not as commercially successful, has retrospectively been praised by critics, according to The Oxford Times and Fact. OMD's overall record sales stand in excess of 40 million. The group regularly features on 1980s compilation albums and box sets; multiple OMD tracks feature on each of the three volumes of Ministry of Sound's Anthems: Electronic 80s series. The band's songs (and samples of their work) have featured in films such as Urgh! A Music War (1982), Weird Science (1985), Pretty in Pink (1986), Arthur 2: On the Rocks (1988) as well as in television shows including Scrum V, Ashes to Ashes, Top Gear, Chuck, Cold Case, Modern Family, The Goldbergs and Castle. Cover versions of "If You Leave" have appeared in the film Not Another Teen Movie (2001) and the TV series The O.C.; a season 6 episode of Degrassi: The Next Generation was named after the track. The 2015 film Ex Machina also incorporated their song Enola Gay. Additionally, every episode of the TV show Hunters is named after an OMD song.
QUESTION:
Were they compared to any other bands?