Seminal synth-pop outfit Erasure are back, their album Tomorrow’s World poised to ensnare its fair share of admirers. The record reaffirms the pop prowess of Vince Clarke and Andy Bell, successfully weathering a few less-than-satisfactory first impressions.

Openers "Be With You" and "Fill Us With Fire" straddle a fine line between flamboyance and obnoxiousness, the former in particular fashioned in accordance with a pushy, pulsating pop approach. More often than not, such intense, electronic bluster becomes too much to handle. Furthermore, this initial tendency towards such an emphatic approach feels entirely forced. Tedium quickly sets in as soon as Tomorrow’s World appears contrived, as if its early stages were cookie-cut from a kind of contemporary pop music playbook. No doubt about it, Erasure’s embrace of the zeitgeist comes across as barefaced and phony. They simply try too hard initially, the results less than convincing as a consequence. Fortunately, as it progresses, Tomorrow’s World just as quickly redeems itself, a slow start proving the only real setback in a short but sweet listening experience.

It’s Erasure’s more calculated, ingenious moments that inspire the rescue of Tomorrow’s World, with a few outstanding tracks in particular defining the release. "What Will I Say When You’re Gone?" proves an intricate, RnB-inspired delight, pitting synthesised jabs amidst shimmering percussion. Its sentiments tread a tender, saccharine path, the duo’s execution of their electronic ensemble proving equally as beautiful. Meanwhile, the eternally optimistic "When I Start To (Break It All Down)" emerges a joyous, bombastic gem and an obvious first choice as single. Later, the jittery, super-serious "I Lose Myself" surfaces as the record’s third irresistible gift. It’s worth noting the sheer potency of Andy Bell’s sublime vocals across the board, his contribution an enduring spectacle. Not one of his twenty-six years in Erasure seems to have tainted his vocal ability even slightly, as Bell continues to exude an electric charisma.

Naturally, Tomorrow’s World is charged with bridging the gaps between these aforementioned highlights. Fortunately, it consistently steps up to the plate. The intervening tracks fall short of feeling quite as strong, but they do hold their own rather well. On the whole, Erasure stage a remarkable recovery, their fourteenth studio album leaving its worrying first impressions for dust.

The success of their synth-pop inclinations does fluctuate here, but when Erasure hit the mark - just as they’ve done so many times in their illustrious career - they’re capable of dynamite stuff indeed. Despite early concerns, Tomorrow’s World serves up an array of songs that do well to illustrate Erasure’s infectious synth-pop expertise. Long time fans and pop-aficionados can rest assured that there’s certainly a wealth of material here that warrants investigation.

Review Score: 7.5/10

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