Dallas Voice (Dallas, Tex.), Vol. 28, No. 19, Ed. 1 Friday, September 23, 2011 Page: 20 of 48
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Over a quarter-century,1
Erasure has grown
from pop wunderkinds
to senior statesmen
RICH LOPEZ I Staff Writer
A LOTTA RESPECT
Andy Bell, left, and Vince
Clarke of Erasure have
earned their places as
music legends and queer
icons, but look forward
with a refreshed sound
and tour that hits Dallas
There is an almost jaw-dropping effect to the idea that it has
been 25 years since the world first heard of Erasure. Andy
Bell's distinctly boyish voice was theatrical with the heart-
break and optimism of youth. Vince Clarke joined Bell as a veteran
of Yaz and Depeche Mode, but with Erasure came a sense of ebul-
lience those bands never possessed. Bell and Clarke might be pop
music's most perfect marriage.
As music icons, they have actually relinquished control of their
upcoming album, Tomormv's World, which drops
in October. Interestingly, soon after the group
marks its 25th year with its 14th studio album, its
producer, Frankmusik, will celebrate his 26th birth-
"It turns out his mum was a huge fan of ours,"
Being a contemporary of your producer's parents is the least of
Erasure's concerns. Bringing Frankmusik on board is both a blur
and a blessing to Bell. As a producer, he has worked with every-
one from Lady Gaga to Erasure contemporaries Pet Shop Boys,
and brings a freshness to Tomorrow's World that hasn't been heard
House of Blues, 2301 Flora St
Sept 25 at 8 p.m. $39-$65.
in the last decade. Still, the sound is distinctly them.
"Nobody knows quite how it happened, but we had this in-
stinctive feeling about him," Bell says. "He Was championed by
our more fanatical fans and they made a really good choice. I don't
know how those straight boys can do it but he's embraced that
synth genre and loves that metrosexual culture."
When Frankmusik was asked if he was intimidated by working
on this album, his appreciation of Erasure is fully relayed.
"No, no. It felt like my calling, it really did. I felt
like I needed to make that album — for me and for
them," he told QSyndicate earlier this month.
Both acts are on the road touring together, as if
Erasure is somehow passing the pop torch. No need
to call this a farewell tour, though: Bell doesn't feel
like they are going away anytime soon.
"You don't take it for granted at all," he says. "We're almost
halfway through the American tour, but we are looking forward to
the end of this tour, but at the same time we're loving it. It's been
great fun. It's a lovely thing to have a great job."
Erasure has released many gems over the years that have also
become signa ture hits. "Oh L'Amour," "A Little Respect" and
"Chains of Love" are just a sampling of their mark on the industry.
But among that huge foundation of songs are some Bell wishes
had become bigger hits.
"Sure, you get disappointed when certain ones aren't played on
the radio, but you can't have that all the time," he says, "I loved
'You Surround Me' and 'Rock Me Gently' a lot. Unless we feel
strongly about something, then the label chooses. At some point,
we have to realize its true worth."
Erasure comes to the House of Blues Sept. 25 to an already-sold-
out venue. Clearly they have not lost their drawing power. Bell
says Dallas has always been good to the band despite some of the
not-so-approving denizens Texas is sometimes known for.
"We love playing there because we're have this really great fan
base in Dallas and it's continued over the years," he says. "I do get
fed up with these 'pray away the gay' folks who wage warfare on
young people. Those closet cases always have their hidden agen-
das and just take it out on other people."
After 25 years, it would appear Bell still retains his sass, only
now it's more like a guided missile. ■
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Nash, Tammye. Dallas Voice (Dallas, Tex.), Vol. 28, No. 19, Ed. 1 Friday, September 23, 2011, newspaper, September 23, 2011; Dallas, Texas. (digital.library.unt.edu/ark:/67531/metapth239186/m1/20/: accessed September 21, 2017), University of North Texas Libraries, Digital Library, digital.library.unt.edu; crediting UNT Libraries Special Collections.