I dug Erasure in the 1980s. They were fun, they were poppy, they... well, they were the 1980s. Erasure in 2000? Do they translate?
The trick for 1980s bands is to evolve so that their sound is modern and not out-dated, while still remaining familiar so as not to alienate long-time fans. New Order did it well; The Cure didn't. Erasure's evolution took them to the only logical place: an album full of gay-bar dance music.
This is not a bad thing. Along with Pet Shop Boys, Erasure was the gayest band of the 80s (something my husband gets teased for mercilessly when listening to classic Erasure at work). So going from gay-pop to gay-techno is perfect. Too bad their new album, <i>Light at the End of the World</i>, isn't perfect.
It starts off good. The first three tracks are techno-heavy, but bright, cheery, very danceable. Erasure's signature candy pop with a modern, rave-inspired backbone. The tempo slows considerably after that. "Storm in a Teacup" is stuck between trance and techno. Not really "chill" music, but not easily danceable. "How My Eyes Adore You" and "Glass Angel" also fall into that trap.
Erasure is at their best when they are doing fast, hard-driving, danceable songs. The first track on this disc, "Sunday Girl" is an excellent example. That is easily my favorite song on the disc. "Fly Away" is not quite as manic, but still danceable and even enjoyable even outside a club mindset.
All in all, the disc is reasonably solid. Erasure isn't likely to find new fans with this disc, and you certainly won't hear any of the cuts on the radio, but Erasure fans should find enough here to make it worth the purchase.
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