Tag: Andy Bell (Page 1 of 5)


While ‘World Be Gone’ brought a somewhat sombre mood to the ERASURE stable, the expectations for the opus number 18 were mixed.

To the hardcore fans of the Bell / Clarke combo, ‘The Violet Flame’ remained the best contemporary production from the twosome with many not too appreciative of the more reflective offerings contained on the 2017 album.

The newest studio long player ‘The Neon’ comes about at the right moment to celebrate the achievements of Vince Clarke who received the Special Recognition Award from the Association of Independent Music.

Recorded in Brooklyn and Atlanta and mixed in London, ‘The Neon’ refreshes the pair’s love for great pop, which is what they have relentlessly been offering for decades, never letting down, never disappointing. With 2020 certainly being the year that will go down in history, it needs a strong pick me up and that’s where the shiny sparkler comes in.

The album is heralded by ‘Hey Now (Think I Got A Feeling)’ which, while not being the strongest ever single, does a great job introducing the newest material, harking back to the quintessential ERASURE sounds. ‘Hey Now’ has enough passion and positivity to lift the moods and set the stage for more colourful offerings and the following song ‘Nerves Of Steel’ does not disappoint.

Accompanied by superb video featuring 20 LGBTQIA+ stars, some known for their appearance on ‘RuPaul’s Drag Race’, the song oozes positivity and love. Andy Bell claims this to be his favourite track on ‘The Neon’ and it is plain to see why.

Beautifully composed and expertly written, with a superbly executed bridge which slides seamlessly into the catchy chorus, the songwriting genius shines through, reminiscent of some chosen gems from the ‘Cowboy’ era. ‘Fallen Angel’ ushers in an urgent, bumpy synth, rhythmically canvassing the beauty of Bell’s vocals, who’s trying “all of the things that give (him) love”. 

Faster and fuller, ‘No Point In Tripping’ is a positivity pill necessary to survive the bizarre times we live in, while ‘Shot A Satellite’ is a memory lane journey through the years of ERASURE. Bell sounds as fresh as ever, proving his singing prowess once again.

The more demure, slow paced ‘Tower of Love’ layers haunting vocals over magnificent synth lines brooding to explode into big chorus. A faster tempo returns on the analogue driven ‘Diamond Lies’.

This is a stance that is continued on ‘Careful What I Try To Do’ with its melodic bass and magical synth play; Clarke is at his best here for sure. Some haunting piano on ‘New Horizons’ paints the picture of hope and positivity in love, a ballad that Bell sings to a lover and not that dissimilar to their massive ‘Home’ from ‘Chorus’, but stripped down and adapted to the new reality.

The opus closes with poignant synth gem of ‘Kid You’re Not Alone’ which sees Bell playing with his vocals over a gentle melody, enveloping the listener into a warm summer embrace of hope, love and freedom from judgement.

With Clarke finally recognised for his genius and Bell continually proving to be one of the best vocalists and songwriters, 35 years later, the duo still provide the magnificent sonics and sparkling electricity laced with the voice of an angel.

If you need a pick me up entwined with a trip down memory lane, look no further; ERASURE have got you.

‘The Neon’ is released by Mute Artists in a variety of formats





Text by Monika Izabela Trigwell
22nd August 2020

ANDY BELL Torsten In Queereteria

As described by Andy Bell himself, Torsten has been “the biggest challenge of (his) career so far”.

Having released solo projects before, 2014 saw the birth of an age-defying polysexual in a stage production that bent genres and shook values, shocking as well as eliciting love and empathy towards the wounded figure of a hedonistic individual who endlessly looks for love and acceptance.

The first in the series, ‘Torsten The Bareback Saint’, was “sporadic, psychotic, quite confusing to people” according to Bell, describing the hero’s early days, his time as a schoolboy, the first jobs, the first loves of both sexes as well as Torsten’s fragile mental state.

‘Torsten The Beautiful Libertine’ painted a clearer picture of his character, delving deeper into the past and showing the cracks in his existence. It’s the tale of a man who “finds himself in extraordinary circumstances” and simply trying to continue his endless being.

Written as a collaboration between Andy Bell, poet playwright Barney Ashton-Bullock and the musical genius of Christopher Frost, the Torsten productions enjoyed viewings during The Edinburgh Fringe Festival and a four week run at Above The Stag Theatre in London respectively.

And now Torsten returns ‘In Queereteria’, which covers four acts depicting various aspects of the semi-immortal’s life story and his self-realisation.

Act one, entitled ‘Remembrance, Youth and Beauty’ ushers the sadness that defines Torsten’s existence, the eternal fight that goes on in his mind, the realisation that his “beautiful libertine” times will pass, and ‘A Hundred Years Plus Today’ he may or may not be here. While ‘You Stampede An Open Wound’ of a “broken man”, this bossa nova deepens the melancholy further, leading “so far from home” on ‘Lowland Lowriders’.

The nautical sounds of ‘I Am Of The Sea’ float ominously over the storms of life, fighting the tempest of survival over the “seven seas from home”.

The second act, ‘The Hedonism And The Hurting’ brings back the city lights in ‘Cabaret Awayday’; a highly melodic piece which crudely describes the random sexual encounters “in a toilet cubicle” under “flickering strip lights” performing the chosen “subtle perversion”. But it is the ‘Queereteria’ club with its “musical diarrhoea” where the debauchery reigns above all, even ‘If We Want To Drink A Little’, while duetting with Hazel O’Connor.

‘Bitter Regrets’ is Act Three, where ‘Thou Shalt Be My Vibe’ portrays an intoxicated Torsten, who’s realised he’s hit the bottomless hole. The rent boy status of ‘Money With Menaces’ doesn’t seem to suit him anymore, while he tries to deny the fact his drinking is beyond control in ‘Let’s Be Sober Another Time’, even inviting his remaining acquaintances to ‘Come And Taste My Breakdown’. Like in a dark circus of “insanity and breakdown”, Torsten seems to lose himself thoroughly.

Some balance is restored in Act Four ‘To Mourn And To Miss’, seeing an older Torsten who’s trying to distance himself from the years of partying and loose lifestyle. ‘To Know Good Men From Perverts’ is a lesson of being able to distinguish between those who wish one harm and those whose intentions are pure. The leading single from the album, ‘We Haven’t Slept For Twenty Years’, describes the crazy times of constant over indulging “cruising for kicks” and “not giving a toss years” with a romantic approach, as if watching one’s life like a series of slides. Incidentally, the song has also been separately remixed by the Welsh duo SHELTER, with frontman Mark Bebb providing additional backing vocals.

A tribute to an aged lover recently lost is presented in ‘Silence Is Golden’. The closing ‘Not Opting Out’ brings the realisation that Torsten’s life may be coming to an end, yet he’s still adapting to the changes it’s bringing, even if it’s becoming harder and harder to keep up.

‘Queereteria TV’ is scheduled to open to audiences at Above The Stag Theatre in London, where Torsten finds himself in post-apocalyptic Britain, wanting to reinstate live TV transmissions from ‘Queereteria’ cruising club. This time joined by Peter Straker of ‘Hair’ and ‘Doctor Who’ amongst others, alongside Barney Ashton-Bullock and Christopher Frost, Andy Bell is likely to bring Torsten to life again, signing his heart out, portraying the melancholy and sadness of Torsten’s long existence.

‘Torsten In Queereteria’ is released by Cherry Red as a CD and download on 12th April 2019; available from https://www.cherryred.co.uk/product/andy-bell-torsten-in-queereteria-cd/

Andy Bell stars in ‘Queereteria TV’ at Above The Stag Theatre from 10th April to 28th April 2019, this is a musical comedy set in a post apocalypse Britain where three egotistical misfits attempt to reinstate live TV transmissions from the infamous ‘Queereteria’ cruising club. It also stars Peter Straker alongside the other two members of ‘Andy Bell is Torsten’ collective, Barney Ashton-Bullock and Christopher Frost – tickets available from: http://www.abovethestag.com/vxl/whatson/torsten/




Text by Monika Izabela Trigwell
9th April 2016

A Short Conversation with ANDY BELL

Andy Bell is Torsten again!

Introducing the third part of Torsten’s highs and lows, the celebrated ERASURE frontman tackles the task described previously as the biggest challenge of his career. ‘Torsten In Queereteria’ wraps up the triptych, following ‘Torsten The Bareback Saint’ and ‘Torsten The Beautiful Libertine’, where the story of the age defying polysexual is sung with the angelic Bell’s voice.

Written as a collaboration between Bell, poet / playwright Barney Ashton-Bullock and the musical genius of Christopher Frost, the Torsten productions enjoyed viewings during The Edinburgh Fringe Festival and a four week run at Above The Stag Theatre in London respectively.

ELECTRICITYCLUB.CO.UK had the pleasure to chat to Andy Bell again to discover what the Torsten plays brought into his artistic life…

The first Torsten shows back in 2014 were presented to very limited audiences, with many not knowing it was ERASURE’S Andy Bell, ‘The Beautiful Libertine’, however, picked up a wider crowd?

I think perhaps the word had started to spread that is was something completely different from what people associated me with, it’s quite hard to break away from the pop mould and takes perseverance but once I’d signed up to the project you must see it through Barney and Chris are very talented and Above the Stag have been very generous with their time!

After the first shows, did you have a feeling you did something very right?

I wouldn’t say whether it was right or wrong but I have faith in the songs and the concept.

And then came the continuations, with the latest being the third in the series… will this be the last part of Torsten’s story?

I don’t imagine this will be the last we’ve heard of Torsten as long as Barney keeps him alive.

A couple of years ago we spoke about the braveness of the content of Torsten’s songs, and the fact some people were quite uncomfortable with the “close to the bone” references. Do you feel the audiences will have come to accept the highs and lows of Torsten’s by his third outing?

I think the state of the world has become a lot open as if with the internet the genie has been let out of the bottle so to speak so people are less afraid to discuss intimate subjects.

Inevitably many see Torsten in you, and maybe that’s what’s making it harder?

Well, I suppose there is some of him in me but I still wouldn’t like to discover the “fountain of youth”!

What did Vince think of the Torsten plays?

I’m not sure if he’s ever seen the stage version but he describes me as fearless… he doesn’t know how much I quake underneath.

And in the meantime, ERASURE rose to greater heights with the superb ‘World Be Gone’… unusually so, you showcased the album in its entirety alongside some of the top hits during your live performances, a very brave move…

I think we never want to be a cliché and try different things you have to take the long route and go against the grain, it’s harder work sometimes but well worth the effort.

Would you say the world has moved on since the first Torsten and his character would be more understood now, in 2019?

Definitely but probably in either direction its more extreme now.

The latest Torsten is divided into four acts, what was the idea behind this particular approach?

That’s just the running order to make the songs more palatable and understood.

All three productions don’t shy from flowery, at times vulgar and obscene language. Torsten’s story is as real as it gets…

I think it’s probably very reminiscent of medieval London.

After the first instalment of Torsten, you felt you wouldn’t be able to get on with someone like him in real life. Having now completed the cycle, would you say you know and understand the character deeper?

I think he’s a lot more knowing and considerate than I gave him credit for you’d say that life’s too short but for him it’s the opposite way round.

The talents of Andy Bell don’t end there, though. What’s next for you?

More writing with Vince and some retro ‘Lets Rock’ solo shows.

As with the previous shows, the soundtrack is being released as an album, will there be a remix version too? As a little birdie tells me you invited Mark and Rob from SHELTER to do a remix of one of the tracks?

I think there will be!

Maybe it’s time for another solo pop project now?

I can’t decide whether to do something more orchestral or Northern Soulish. X

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Andy Bell

Special thanks to Sharon Chevin at The Publicity Connection and Matt Ingham at Cherry Red

‘Torsten In Queereteria’ is released by Cherry Red as a CD and download on 12th April 2019; pre-order at https://www.cherryred.co.uk/product/andy-bell-torsten-in-queereteria-cd/

Andy Bell stars in “Queereteria TV” at Above The Stag Theatre from 10th April to 28th April 2019, this is a musical comedy set in a post apocalypse Britain where three egotistical misfits attempt to reinstate live TV transmissions from the infamous ‘Queereteria’ cruising club. It also stars Peter Straker alongside the other two members of ‘Andy Bell is Torsten’ collective, Barney Ashton-Bullock and Christopher Frost – tickets available from: http://www.abovethestag.com/vxl/whatson/torsten/





Text and Interview by Monika Izabela Trigwell
1st April 2019

SHELTER Interview

Last year, Welsh duo SHELTER “ascended” onto the hungry synthpop fans with a bang, following their debut ‘Emerge’.

Oh, and did they emerge; with a larger than life frontman in Mark Bebb and the equally adept producer Rob Bradley in charge of musical execution. Andy Bell himself chose the boys to work with him on his ‘iPop’ adventure and ERASURE invited SHELTER to support them during ‘The Violet Flame’ tour.

And now the Welsh duo are known far and wide for providing the synth loving boys and girls with catchy tunes and exuberant live shows. ELECTRICITYCLUB.CO.UK caught up with Mark and Rob over a glass of red…

SHELTER are now quite popular with fans of easy listening electronica. But how did it all start?

Mark: We’ve been working and writing together since 1999. Rob had a studio and I was in a boyband looking for a studio. My brother recommended Rob. We shared a love of electronic music and hit it off immediately. We started making music and quickly achieved success as finalists in Future Music’s national ‘Undiscovered Originals’ song writing competition and we’ve just continued from there.

JOHAN BAECKSTRÖM is doing ERASURE-like synthpop in Sweden as is MATTHIAS in Canada, was your choice of musical style deliberate, or did things just happen?

Mark: We are both massive ERASURE fans but we don’t try to emulate them. Our style has evolved organically due to our love of all things synthpop and electronica and we are not afraid to experiment a little. We do try and keep the sound consistent though, with the fact that we are an electronic two piece band.

Talking about MATTHIAS, how did the collaboration on ‘Code’ come about?

Mark: Our artwork is created by Canadian music video producer and good friend Stephano Barberis. Stephano manages Matt Danforth aka MATTHIAS and connected us. Since then Matt has remixed one or our tracks ‘Figaro’ and Rob has produced a remake of Matt’s FRONT & CENTRE single ‘Everytime’. Matt asked if we would get involved in his project but Rob was busy, so I worked directly with Matt.

How do you both feel about working on non-SHELTER related products?

Rob: I’m always glad to have a bit of peace and quiet! On a serious note though, I take on paid production work from time to time and I think it helps to challenge me to try and learn new things.

Andy Bell and ‘iPop’, who approached whom?

Mark: ‘iPop’ never started life as an album. We approached Andy privately and sent him an early demo of ‘Beautiful’. We’d written the song with Andy in mind and within minutes he rang us excitedly saying he absolutely loved the song and that he’s gonna fly over early in the New Year and stay for a week to record his vocals at our studio.

Rob: We recorded ‘Beautiful’ quite quickly and spent the rest of the week going through lots of our demos and picking ones he liked. We recorded 11 tracks in 7 days, 8 of which made it to the ‘iPop’ album. Voila, ‘iPop’ was born.

And then came your support slots on ‘The Violet Flame’ Tour…

Mark: Yes, amazing, ‘The Violet Flame’ and ‘iPop’ were truly life-changing turning points for us as a band. Vince Clarke very kindly worked with us on the track ‘Lift Me Up’ from ‘iPop’, so we think Andy and Vince maybe put in a good word for us to their manager in New York.

Out of the blue one day we got an e-mail which quite literally read “How about these 8 dates guys?” with 8 dates spanning UK, Germany and Denmark ie The European leg of the tour. I needed to read the e-mail numerous times to believe it, then rang Rob and asked him if he was sitting down! Rob suffice-to-say didn’t believe me as he naturally would find such news difficult to swallow!

Rob: I asked him to send me the e-mail. I rang him back and we were quite literally fit to burst with excitement and immediately accepted the offer of course.

Your approach to live gigs seems like an elaborate affair, with all the vibrant costumes and such…

Mark: Yes, we think it’s important to take what you do seriously, but not to take yourselves too seriously. We try to always put on reasonably elaborate and flamboyant live stage performances.

This is primarily why Rob uses a keytar, to enable him to be more animated and mobile on-stage.

Rob: Convincing me to get a little more experimental with outfits took a number of years longer! *laughs*

Mark: I have to say he’s actually very open minded to creative things and pushing boundaries for someone a lot quieter and more reserved than me! Seeing Rob step out supporting DE/VISION in a silver LED light suit was a really highlight for me. I’ve always kinda just worn what ‘feels right’ for me to wear in a kinda non-binary / gender fluid approach. It’s less about orientation or gender for me and more about what best suits what we’re doing musically and visually at any given time, without feeling stifled or guided by the hand of convention.

As a band, how do you take criticism?

Mark: We take criticism on the chin simple as. Whenever you put anything you’ve created out there into the public domain, you are by default open to criticism. If you ‘invite’ or ‘volunteer’ your work out into the public domain, you have to expect feedback and opinion good, bad and indifferent. I think if you can’t take criticism, you’re clearly in the wrong game frankly. You’re always going to be judged in some way or other, no matter what your outputs concern themselves with. We do always listen to people’s feedback though.

What are your musical influences?

Mark: Again simply too many to list really, but I guess my historical constants would have to be ERASURE, DEPECHE MODE, KRAFTWERK, DEAD OR ALIVE, BRONSKI BEAT, NEW ORDER, FRONT 242, OMD etc. More recently, I tend to also add in lots more independent acts such as ASSEMBLAGE 23 (Tom Shear), VNV NATION, IAMX, MARSHEAUX, AESTHETIC PERFECTION etc.

In my car right now though almost on permanent repeat is ‘Metanoia’ by IAMX which, in my humble opinion is quite frankly a complete work of musical and production genius.

Rob: I basically love all music, apart from maybe thrash metal and opera *laughs*

But my real passion is for electronic 80s music like THE HUMAN LEAGUE, HOWARD JONES, HEAVEN 17, YAZOO, THOMPSON TWINS etc. I love the music that these early synth pioneers made and I just try to make new music in a similar, but evolved style in order to fill a gap that I feel they left behind. I’m obviously a massive ERASURE fan too, but thankfully they’re still delivering awesome new music in their same classic style. I do love to venture and experiment into different production styles though, but it’s always the retro electro stuff that tends to stay on my car playlist.

You’ve already “emerged” and “ascended”, what’s to come next?

Mark: Next comes ‘Soar’ – our debut trilogy of album releases were originally based on the metamorphosis and life-cycle of a butterfly. We’ve got to finish writing and recording our ‘difficult 3rd album’ first though before our beautiful butterfly takes to the sky.

Your most recent single ‘Karma’ is quite poignant. What’s the subject matter behind it, apart from the obvious?

Mark: No catch or hidden meanings with ‘Karma’, it does exactly what it says on the tin. “You can’t put out something, without a string that ties you back to it”; the opening line eloquently summarises the whole intent of the track. When I was younger, I always remember seeing a Snoopy and Woodstock sketch where Snoopy had a tennis bat and hit the ball and it bounced back and was hurtling back towards poor Snoopy.

The caption beneath it said; “… for every action, there is an equal and opposite reaction!” – that stayed with me and I think ‘Karma’ pays homage to that life principle. ‘Karma’ also embraces SHELTER’s darker, edgier side which Rob and I love doing from time-to-time.

Mark, your voice seems to have blossomed lately, you must look after it well…

Mark: That’s all down to Rob’s production mastery and studio trickery. He’s very good at making me sound very good. Not revealing any of our bag of tricks or our trade secrets here! *laughs out loud*

Thank you though, that’s such a lovely thing to be told as a singer, and I will very graciously accept that lovely compliment and quit while I’m ahead 😉

Any plans to produce other artists?

Rob: My immediate priority is to finish our next SHELTER album. Mark and I are getting a real buzz from writing new songs at the moment, so I want to keep focused on SHELTER as much as possible. I do however have a couple of production jobs for some clients to work on outside of SHELTER and I think after the album is done I’d like to have a crack at doing a one-off solo single. I doubt it will ever happen but I’ve always wanted to have a go.

Coming back to live performances, SHELTER do gig extensively…

Mark: We do try to gig where and when we can, as it’s where we get a chance to reach out and directly connect with people who enjoy our music. Also it allows us to ‘road-test’ our music and see what works best in a live environment and see which tracks people respond more favourably to.

It goes without saying that our extensive and growing wardrobe also gets a bit of an airing. Rob and I always make a real effort for our live gigs with lots of behind-the-scenes debate regarding set lists, costume co-ordination etc.

Rob: Performing will always remain pivotal for a band to better connect with and understand those who like your music and also keeps you on the edge with adrenaline in terms of your performance prowess as gigging is instantaneous and unforgiving in terms of whether you can still ‘cut it’ as an artist.

Mark: We’re looking forward to playing back in Denmark shortly. Denmark has become our second home for playing live which is amazing. Then we have our first live date in 2018 with ‘Synth Wave Live 2’ gig in London on Saturday 7th April 2018.

How do you feel about being on the line-up for Synthwave Live 2 and are there any acts you particularly want to see perform?

Mark: THE DEPARTMENT and SOFTWAVE are good friends of ours and we’ve worked with Rob Green previously. SOFTWAVE, we know them personally and their stuff and they recently spent the day with us when we supported KIM WILDE at The Fox Festival in Denmark.

We are looking forward to seeing KATJA VON KASSEL, KNIGHT$ and the other guys who we haven’t had the opportunity to get to know as yet. We’re all part of one electronica family after all.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to SHELTER

Additional thanks to Si Skinner

‘Karma’ is released by Ministry Of Pop as a digital single and available from the usual platforms




Text and Interview by Monika Izabela Trigwell
30th October 2017, updated 9th February 2018

ERASURE World Be Gone

2014 saw the Vince Clarke / Andy Bell combo celebrate yet another success with ‘The Violet Flame’, where according to Bell, ERASURE “definitely found (their) mojo again with this record”.

Following their thirtieth anniversary, the synthpop kings now return with the seventeenth studio album entitled ‘World Be Gone’.

This time, self-produced by ERASURE and mixed by Matty Green, the long player sees Vince and Andy in a more pensive mood.

Joining their electronic colleagues PET SHOP BOYS and DEPECHE MODE who have both released politically charged opuses, the band reflects on the current political situation. However, ERASURE do it with an expression of faith in the future, as Bell explains: “I think there’s an under swell of opinion, and people are slowly waking up. I’m hoping that people will take the album in a positive way, that they’ll use it as optimistic rabble-rousing music.”

‘Love You To The Sky’ heralds the ten track outing. While it’s a pleasant sounding melody with Andy’s angelic voice and a rather captivating verse, the track struggles to lift to the heights which ERASURE are celebrated for. The beautifulness of the verses disperses with the repetitive chorus, making ‘Elevation’ from ‘The Violet Flame’ the winner in the battle of the first singles hands down. Still, judging by the efforts by their contemporaries, ‘Love You To The Sky’ is a charming and well-written song.

The slower paced ‘Still It’s Not Over’ searches the soul with gentle sounding musicality and simple melody, conveying a hopeful message of the continuation of everyday fights, against all odds, even though we were “left (us) to the sheer attack, and still it’s not over”.

Where the quintessential ERASURE sound comes to play, is on ‘Be Careful What You Wish For’. This excellently led tune sublimely meanders itself around a plethora of Andy Bell’s vocals. The dreamy lyrics are challenging and endearing, and the whole song is just beautifully executed.

Following on, there ushers the album’s title track, which is equally peaceful and gracefully powerful. Reminiscent of the vintage ballads by Clarke, ‘World Be Gone’ ties together with the band’s history in a seamless manner.

‘A Bitter Parting’ tells the story of a failed relationship over African inspired choirs a la ‘The Kodo Song’ by KID KASIO, elegantly penetrated by marvellous synth and added nostalgia in the lyrical content.

‘Take Me Out Of Myself’ is a gentile plea for being treated with deserved consideration, like a demure version of Otis Redding’s ‘Respect’, while ‘Sweet Summer Loving’ introduces a change in tempo with a mid-paced love song.

‘Oh What A World’ superbly escorts a twist in ERASURE’s notion; different sounds, different feels to the vocals and altogether a rather big departure from what we have come to know and love the duo for, but this is where Vince Clarke proves, yet again, that he’s an unparalleled synth magician. It’s possibly the best piece from the Bell / Clarke stable in years.

‘Lousy Sum Of Nothing’ continues the delicate theme, leading to the closing ‘Just A Little Love’. Here is where the lovers of the dancier tracks get their money’s worth. It’s a rather unassuming, yet solid piece to wrap up this wonderfully gracious offering.

As set out, Bell and Clarke bring us more than hope. ‘World Be Gone’ will probably be as commercially successful as its predecessor, and unlikely to follow the fate of the very unloved and misunderstood ‘Tomorrow’s World’.

A few will wonder as to why the production wasn’t delegated out and some will criticise. But every now and then, an easy listening piece is needed to level out the vast material ERASURE have brought us over the years.

Is it their finest? It’s different, more grown-up and maturely executed; still, it will undoubtedly be one of the best things synthpop enthusiasts will hear this year.

‘World Be Gone’ is released by Mute Artists in a variety of formats including CD, vinyl LP, cassette and digital

ERASURE 2017 live dates include Glasgow O2 Academy (27th May), Manchester Albert Hall (28th May), London Roundhouse (29th May)

They also open for ROBBIE WILLIAMS in the UK and Europe throughout July and August, see press for details




Text by Monika Izabela Trigwell
18th May 2017

« Older posts