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Erasure – Tomorrow’s World

Erasure, Tomorrow's World

Review by Jack Foley

IndieLondon Rating: 2 out of 5

THE name of the latest Erasure album is designed to reflect the fact that this is a band who are continually looking to the future when it comes to re-defining their sound.

Hence, while the mainstream world seems to have only recently caught up to the synthesizer sound, Erasure candidly point out that they’ve been doing it for ages (25 years in fact).

“In the 1980s and early 1990s, if you counted the number of purely electronic bands in the charts, there wasn’t that much really,” Vince Clarke says with a smile. “Now it’s like 90%! Who would have thought that? This whole new electronic scene is really exciting, and I don’t think anybody sounds like the music from back then, just because they are using synthesizers.

“Erasure have never been about nostalgia. We are not thinking about records we made in the 1980s, even if other people are. We are thinking about the next record – and future records.”

With this in mind, it comes as a bit of a surprise to find that Tomorrow’s World, the new album, is actually pretty generic for the moment. It’s full of cheesy electro-pop moments and sentiments without really offering too much that’s new for them or the genre they represent.

Lead single When I Start To (Break It All Down) is a classic case in point: an amiable crowd-pleaser that boasts bouncing synth loops, light-weight beats and a euphoric chorus. But it’s not pushing any boundaries.

If anything, in trying to strive for the sound of the future, they sometimes sound indebted to the remnants of their past. I Lose Myself, for instance, drops the kind of kitsch beats and darker tendencies as early Depeche Mode, minus the menace, while there’s something very ‘80s about the instrumentals on Be With You.

What Will I Say When You’re Gone? is a pure shot at maintaining their Ibiza credentials, a lovelorn track about lost romance that finds Clarke sitting on a beach, watching a sunrise alone and being uncertain of his own future. But it wears its pop-meets-house credentials on its sleeve and isn’t really sounding too much different from countless other Ibiza comedown anthems.

You’ve Got To Save Me Right Now, meanwhile, attempts to slow down the tempo and offer some more angsty pleas for salvation… but again you can’t help thinking that Depeche Mode did the same kind of thing so much better with a track like Condemnation. The gospel elements on this track sound pretty half-hearted and more keen to keep their eye on pop.

Ironically, the album only really comes alive in its closing moments, when the moody synth pop of Just When I Thought It Was Ending dropping not only the best overall sound but the best vocal – a moment when the darker tendencies hinted at in so many of the lyrics are backed by an appropriate vocal. It’s the standout track… but by then it’s too late because the album really does end.

Watch the video for When I Start (To Break It All Down)

Download picks: Just When I Thought It Was Ending, When I Start To (Break It All Down)

Track listing:

  1. Be With You
  2. Fill Us With Fire
  3. What Will I Say When You’re Gone?
  4. You’ve Got To Save Me Right Now
  5. A Whole Lotta Love Run Riot
  6. When I Start To (Break It All Down)
  7. I Lose Myself
  8. Then I Go Twisting
  9. Just When I Thought It Was Ending

  1. What a bad review. You have no idea about brit electronica. I can’t even see how you can compare this album with Depeche Mode. Obviously you don’t listen to electronic much.

    hello    Oct 12    #