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Tomorrow’s World represents a return to the studio for Erasure for the first time in more than four years. Released on Mute, the album is produced by one of the dance scene’s most exciting new talents, Frankmusik (production credits include Lady Gaga, Pet Shop Boys, Ellie Goulding) and mixed by Rob Orton.
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Leur production, appuyée sur la voix chaude d'Andy Bell et le talent de l''indéfectible Vince Clark a produit en quart de siècle des perles. Synthés voltigeants, mélodies chaleureuses et souvent avec un rythme trépidant. On notera par ailleurs la finesse de leur production et les arrangements léchés que dont le duo a le secret depuis si longtemps.
Alors, aujourd'hui la galette servie laisse sur sa faim. Tout semble en contradiction avec le paragraphe précédent. La lourdeur de la musique aux sonorités dance floor est navrante. Tout semble englué dans une gangue collante. Même la voix d''Andy Bell semble mal arrangée souvent trop nasillarde et manquant de clarté. Bon, le métier les rattrape et l''album n''est pas complétement indigeste mais on reste circonspect. D'autant que si "'Tomorrow''s world"' est annonciateur des productions futures, on va se fâcher.
Un album d''Erasure se découvre en principe avec gourmandise comme une confiserie tant leur production peut être réjouissante mais là, l''avalanche de guimauve ne sera pas digérée sans un Alka Selzer puissant.
Il faut avouer que le précédent 'Storm Chaser' avait déçu. Est-ce qu''Erasure n''a plus le secret pour nous faire vibrer ? La double opération des hanches d''A. Bell a-t-elle eu un impact plus profond que prévu ?Lire la suite ›
Il s'adresse avant tout aux fans et aux personnes ayant aimé les sonorités des albums studios solo de leur chanteur Andy Bell, à savoir un son assez dancefloor! 9 titres seulement et à peine 32 minutes, 3 titres moyens sur les 9, c'est un peu juste.
Le 2éme cd en complément (de plus de 37 minutes) avec les remix, les démos et un inédit, aide à faire passer un peu mieux la pillule.
En conclusion, un album acceptable mais en dessous de la magie d'un album comme "Nightbird" ou même "I say,I say,I say"...
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'when i start to (break it all down)' is a curious choice as the first single as it's not really indicative of the rest of the album. it's a fine song, but lacks the propulsive energy found in the rest of the album. and that energy is exactly what makes 'tomorrow's world' really shine. it's infused with new-found vitality, rejuvenation, and sounds oddly relevant. bringing frankmusik in to produce was a nice stroke. he's coaxed out vince's yazoo days, musically speaking, of course, in embracing minor chords more than on past albums. (and andy's vocals, as always, are pristine - though there isn't too much here at the lower end of his register). tracks like 'i lose myself,' (it's easy to imagine alison moyet singing this one) 'be with us,' 'a whole lotta love run riot' and 'then i go twisting' are all dance floor stompers and primed for endless remixes (this is a good thing!). and aside from misguided auto-tune vocals on 'a whole lotta love run riot,' there's not really a misstep on the entire album. it feels as complete and whole as any erasure ever has. on a personal note, my favorite track is 'what will i say when you are gone.' beautiful.
it won't convert the naysayers, but for those of us who've been with vince andy the last twenty years, it's a terrific album. there's nothing immediately memorable and classic as, say, 'oh l'amour,' 'chains of love,' 'a little respect,' or 'always,' but as a whole it trumps, at least in my opinion, the last four or five albums and is right up there with 'the innocents,' 'i say' and 'the circus.'
hats off to you, gentlemen. many have copied, but the original keeps the crown.
This time, it's a slight detour (or a new phase?) into contemporary dance music, largely created by hotshot producer Frankmusik. He has taken the familiar synthetic bleeps of Clarke and added a new shimmer, making the record sound like much of today's other dance-pop music (including Andy's solo albums). Additionally, Andy's vocals are often processed with AutoTune, although no doubt more for effect than necessity. Vince's synths do chime in, but this time they are encased in Frankmusik's glistening wall of production.
This is no doubt a calculated move to keep Erasure sounding contemporary, and while it basically works as an entertaining album, one does miss the more traditional Erasure sound. The songs are strong overall, with the trailer single "When I Start to (Break it All Down") being the outstanding track.
It is good to see Erasure trying to stay fresh and current, rather than coast on their past, although one hopes they will not completely move away from their classic sound. In any case, new music from these pioneers of synthpop is always welcome.
I've been a fan of Erasure since the late 80s. I own every album (except Union Street), the boxsets, and all their newer singles. While I'd love to say I love TW, I can't...at least not in the way I love the majority of their previous work. In my ranking of their 14 full-length releases, TW is closer to the bottom than the top. Here's the list of their releases from my most to least favorite: Cowboy, Chorus, IS x3, Nightbird, The Innocents, The Circus, Wild!, Wonderland, Erasure, Light at the End of the World, Tomorrow's World, Other People's Songs, Loveboat, Union Street.
I give TW 3/5 stars, partly because it *is* Erasure and I'm thrilled that they're still making music after 26 years, and partly b/c most of the tracks are catchy, dancey, and good, even if not great. I can understand the band's choice to "modernize" their music with the production assistance of Frankmusik (and I think he does a good job with that task), but I don't listen to Erasure to hear slick production, processed vocals, and songs that sounds like much of what's out there today in the way of revitalized 80s-sounding synth-based club-ready music (although I do like that music, too). I listen to Erasure to hear their trademark, blippy, bleepy effects, and solid, melodic, and insanely catchy and unique synth arrangements. I feel that, with a few exceptions, most of those elements that I have enjoyed so much on past albums have been mainly lost on TW.
I have been known to put in one of their older CDs and listen to (lesser known) tracks repeatedly (e.g., Save Me Darling, How Can I Say, Miracle, Waiting For the Day, When I Needed You, The Hardest Part, She won't Be Home, to name a few of my most favorite). Honestly, and sadly, none of the songs on TW inspire me enough to do that. I'm hoping that the approach taken on TW was simply an "experiment," kind of like Erasure (which I like) or Union Street (which I hate), and that on future releases they'll make a(nother) return to form. Until then, I'll be listening mainly to their back catalogue.
Re: the bonus disc, it's nice to see how some of the "original" (meaning before Frankmusik's production was applied) tracks sounded. The same goes for the studio rehearsal video for WIST (BIAD). The remixes by Gareth Jones are great; the remix of WIST (BIAD) by Frankmusik is a bore.
Be With You: 10/10. Easily the best track on the album. Glad to see that it is now a single. I will be buying it right after I write this review for all the (I hope) great remixes. Someone else said it but I'll utter it again, the first 14 seconds of this song are amazing. The rest is just as good. So catchy. Lots of emotion in this song, typical Erasure.
Fill Us With Fire: 9/10. I really like the lyrics to this song and the music ain't bad either. In fact, it's quite refreshing. It sounds like typical Erasure but at the same time it sounds like no particular song they've ever done. If I had to pick one album it would fit best on besides this one, I'd say Cowboy.
What Will I Say When You're Gone?: 9/10. Like the first track this has another a great intro. Some good lyrics all around with a solid bridge/chorus.
You Gotta Save Me Right Now: 7/10. This sounds like a song Erasure didn't write. I mean it sounds like something off Other People's Songs. It's not bad...just very retro.
A Whole Lotta Love Run Riot: 10/10. This must be the second best track of the album. Reminds me of All This Time Still Falling Out Of Love from Nightbird, but better and that's saying something. Very disco-y and will definitely have your body moving.
When I Start To (Break It All Down): 6/10. It's too cookie-cutter for me. By no means a bad song rather just very formulaic.
I Lose Myself: 10/10. Yes. Yes. Yes. Great upbeat track. Hooks all over the place.
Then I Go Twisting: 6/10. With so many great upbeat tracks on this album it was bound they'd miss on one.
Just When I Thought It Was Ending: 10/10. The third best track on the album. This is really a tear-jerker of a song. Very emotionally sung.
Tomorrow's World. 10/10. Sure there's only 9 tracks on the album but then there's the second disc with another 8 of remixes/demos/one other new song that I won't go into as I haven't listened to them much. This is easily Erasure's best overall effort since...well their self-titled album all the way back in 95. Yeah, Cowboy, Loveboat, Other People's Songs, Nightbird, and Light At The End of The World are all pretty solid albums but Tomorrow's World I'd put up there with The Circus, Chorus, I Say I Say I Say and Erasure as my top 5 Erasure albums...with of course ISISIS and Erasure still the two best(maybe by anyone).
If anything, Tomorrow's World has me really cherishing this band even more if that's possible. I dread the day they stop making new music.
Not horrid, just doesn't beg repeated listens.