Unfortunately I didn't buy the vinyl when the album was released, so I have to settle for the 2016 repressing here. Not only did this record come with a free art print of the cover image, but I was also lucky enough to win a signed test pressing. Admittedly the cover image is a little weird, but who doesn't like a freebie?
The first track, "Rain" is a good song, but what is more significant is the production. The Korg M1 piano has been resurrected and there is a more club orientated beat driving things along. Vince's previous stance of restricting himself to analogue synthesizers and CV/Gate sequencers seems have been dispensed with and the result is a much more diverse sound.
There's also something about the basslines on this album which are
deeper, funkier and more dance orientated. I suspect this is in part due
to the change of equipment but also as a result of the involvement of The Prodigy producer Neil McLellan. Erasure haven't made a record that sounds quite like this before or since; it remains a wonderful anomaly.
Whilst not all of the songs on this album are immediate I find the melodies intricate and beguiling. This is typified by songs like "Worlds on Fire", "Treasure" and "Save Me Darling" which flow seamlessly and are imaginatively produced. The album reaches its peak with the fantastic "Boy". This song has a soaring melancholic vocal which wraps itself around Vince's synthetic guitar arpeggios and analogue synthesizers whilst the backing vocals provide harmony and rhythmic impetus. Perfect.
In truth there isn't a bad song on here and the production is satisfying. Whilst this album didn't turn around Erasure's fading commercial fortunes, it did restore some musical credibility and reminded us of their talent. 4/5
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