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Light At The End Of The World Limited Edition
Customers Who Bought This Item Also Bought
|1. Sunday Girl|
|2. I Could Fall In Love With You|
|3. Sucker For Love|
|4. Storm In A Teacup|
|5. Fly Away|
|6. Golden Heart|
|7. How My Eyes Adore You|
|9. When A Lover Leaves You|
|10. Glass Angel|
|11. Be My Baby (bonus track)|
|12. I Don't Know Why (bonus track)|
Recorded in Autumn 2006 in a converted home studio in Maine, LIGHT AT THE END OF THE WORLD is ERASURE'S return to pop form after 2006's critically-acclaimed acoustic album, UNION STREET. Features the single, I Could Fall In Love With You. Andy Bell declares: "This album is to show people that our pop isn't finished... it's saying we can still do it, we can still write great songs". DELUXE LIMITED VERSION COMES IN HARD-BOUND BOOK
After something of a departure--two live discs and the unplugged Union Street (2006)--Erasure returns to full electronic form. From the languid opening wash of "Sunday Girl," Andy Bell and Vince Clarke make no bones about wearing old hats. Most of Light at the End of the World works within the familiar confines of the vintage Erasure formula, drunk on everyman synthesizers, listing through painfully vague and obvious rhymes. ("I get really repetitive because I don't read enough!" Bell admits.) Backed a long-studied love of pop, gospel, and the dance floor, Bell and Clarke revel in this stuff. "Sucker for Love" and "Fly Away" dabble most obviously in such pap, but the band still packs a few surprises, if only for the devoted. "Storm in a Teacup" tackles the alcoholism of Bell's mother in a rare confluence of straightforward storytelling and concrete imagery, and despite being an insincerely fictitious character study, "Darlene" moves with a syncopated, driving bounce that Erasure has rarely, if ever, found in 22 years of mid-tempo electro-meandering. If you don't like Erasure already, you probably won't take a shining to Light at the End of the World. If you do, let's hope their world spins on. --Jason Kirk
Top Customer Reviews
Most Helpful Customer Reviews on Amazon.com (beta)
erasure was, is, and will always be about making your rearend shake. after the somewhat meloncholy 'nightbird,' 'a light at the end of the world' is dancefloor stomper after dancefloor stomper. it's in this arena they've always excelled ('victim of love,' 'sometimes,' chains of love,' etc, etc, etc). the opener, 'sunday girl' is a worthy opener: lots of energy, nice use of minor chord verse and major chord chorus. the first single, 'i could fall in love with you,' is in the same vein as 'don't say your love is killing me,' and 'run to the sun.' a great first single. hi-nrg, of sure. by the time you hear 'sucker for love,' (a disco-inspired romp)it's pretty clear erasure went for it all--and succeeded wonderfully. these are some of the best songs they've done in ages. 'storm in a teacup' is a nice ballad that also uses some nice minor/major chord combos. for me, the standout is 'fly away.' it sounds like it belongs on 'i say' and incorporates some of vince's best chord structures, a great bridge, and a great chorus. at the end of the album, you realize there's nary a bad track to be found. it's everything you want in an erasure album. and i mean everything: danceable, catchy, andy's insane vocal range, and lots of fun.
if there's any criticism (and i use the term lightly), andy bell ran out of lyrical ideas about 1994, but it hardly matters. the positive is that he delivers what he has with lots of pure emotion and sincerity, so it's really pretty easy overlook--after all, with music like this it's all about the execution, and they're firing on all cylinders. erasure never pretended to be a band concerned with artistic merits or breaking new ground, nor should they. they were my first concert back in 1988, and i'm happy to report that 22 years into their career they still have *it.*
More upbeat and peppy than "Nightbird" (which I also loved), "Light at the End of the World" sounds like a cross between "Cowboy" and "Wild!" to me -- with a little bit of "Chorus" and "I Say I Say I Say" thrown in for good measure. "Sucker For Love" sounds like an updated version of "La Gloria", and it's even more fun. "Sunday Girl" is a perfect synthpop masterpiece. "I Could Fall In Love With You" puts me in mind of "Don't Say Your Love Is Killing Me", and so it goes on with all Vince's vintage bleeps, buzzes, and knob-twiddling. By the way, if you've got quick ears, you'll also here echoes of "Always", "Treasure", "Snappy", "Crown of Thorns", and even "March On Down The Line". Listen closely! :)
It sounds like he's dusted off some of the old analog keyboards and sequencers, to great effect. Andy's vocals are in tip-top shape, only stretched a little on the deepest notes (like the notes he used to lose himself in so beautifully on "You Surround Me"). A fantastic album, and it couldn't come at a better time.
Welcome back, Erasure!
Lest you think "Light at the End of the World" is an all-night dance party, the next three songs are gorgeous ballads, beginning with the highly personal "Storm in a Teacup." "Fly Away" and "Golden Heart" showcase Andy's soaring vocals. His singing and vocal arrangements throughout the album are focused and strong.
The synth arrangements on "Sunday Girl," with it's retro-disco touches, and on "Sucker for Love" are attention grabbers, but most of the rest of the backing tracks are fairly low-key. There are some nice touches sprinkled throughout, but there are also some jarring moments--like the overly shrill bridge on "Storm in a Teacup." Overall, the arrangements serve as a nice backdrop to showcase the strength of the songs. Of the last four songs, the other real winner is "Darlene."
Erasure is enjoying a wonderful renaissance, begun with "Nightbird" and continuing here. 20-odd years on, they continue to produce satisfying, sometimes transcendent songs.