Caught in the Carousel

Erasure

Light at the End of the Tunnel
Mute

Erasure

The year was 1990, I was sixteen and I was about to attend my first live show and it happened to be Erasure. Some may recall the stage set of the WILD tour with its enchanted forests, elaborate costumes and giant snails. The first song was “Phantom Bride” and for me at that moment, at dusk at Cal Expo, I was hooked. Although I wasn’t a huge fan of Erasure at the time, on that night in Sacramento all that was about to change. While I was quite impressed with Erasure’s 2005 effort Night Bird, I’m still a little weary from the band’s Cowboy and Love Boat efforts. Taking a look at the duo’s oeuvre, both were rather flat considering the brilliance of I Say I Say I Say and Erasure. Happily, the band’s new long player The Light At the End of the World contains both the energy of their earlier material along with a kind of sonic maturity that comes from both technological advances and the simple passing of time. Although listeners can expect an experience that is less dark than Night Bird, lyrically this album is nearly as heavy, as singer Andy Bell tends to get quite personal. This is especially evident in “Storm in a Teacup,” where he recalls his mother's battle with alcoholism. Family matters, however, aren’t the only thing on Bell's mind: for example, “When A Lover Leaves You” explores the idea of finding a new love after a long relationship. Musically Bell’s partner (the duo have been together longer than most married couples: 22 years!) Vince Clarke answers his lyrical flourishes with rich and layered sequences. One would have to listen with headphones to hear every nuance that Clarke delivers. Although it lacks the free form of 1995's self-titled album, sonically, this is an inspired collection of synth pop finesse, soulful vocals and ambient genius. In other words, their finest work in years.

--Tim White