Originally released in October 1989, the classic Erasure album Wild! is the band’s fourth album and their 2nd UK number one. Featuring the four hit singles 'Drama!', 'You Surround Me', 'Blue Savannah' and 'Star' the album is re-mastered and re-issued as a deluxe 2CD version in a hard back media book format with rare images, original photography by Pierre et Gilles and brand new sleeve notes. An exclusive bonus disc features five unreleased tracks including a brand new remix by Richard Norris (The Grid / Beyond The Wizard's Sleeve), a recently discovered unreleased mix of 'How Many Times?', rare 12" remixes by Mark Saunders, Gareth Jones and Mute supremo Daniel Miller (with Phil Legg), cover versions (including the fan favourite 'Supernature') and exclusive live tracks recorded at London Arena, Docklands in December 1989.

After giving themselves room to roam with an acoustic album, a cover album, solo albums, and a slew of live albums, Erasure return to their comfort zone of distrust, disgust, and despair set mostly to a disco beat with the occasional ballad. Think fan favorite Wild! but with more maturity and depth and you're pretty close to painting a perfect picture of their 2007 effort, Light at the End of the World. It should be noted that the added depth has a lot to do with singer Andy Bell's love affair with complete disclosure, which began with the late-2004 announcement that he had long been HIV positive. Here Bell's cleaning of his closet continues with the key track "Storm in a Teacup," a vivid tale of leaving the dysfunctional nest and the bittersweet taste of freedom that comes afterwards…

Live at the Royal Albert Hall is a live album released by English synthpop duo Erasure in 2007. It is a double-CD set that is a recording of a concert appearance performed on 25 September 2007 at the Royal Albert Hall in London. This concert was a performance to promote the band's 2007 album Light at the End of the World. It was recorded and distributed in conjunction with Live Here Now and was available only through direct order and as a digital download via Live Here Now. Because of this limited availability, the album was ineligible for the UK Albums Chart. A DVD of the same concert was released at the beginning of 2008 and got wider commercial release so that it charted at #7 in the UK music DVD chart and at #19 in the German music DVD chart.

"iPop" (written & produced by dance duo Shelter) is Andy Bell’s (Erasure) 3rd solo album after Manhattan Clique's "Electric Blue" and Pascal Gabriel's "Non-Stop". The album was written and recorded by Shelter - and released on their Ministry of Pop label - but includes two tracks (‘Stars’ and ‘Electrostatic’) which were written in collaboration with Andy Bell, and one track, "Lift Me Up", which also features Vince Clarke (Erasure, Yazoo, Depeche Mode).

Originally released in 1991, the classic Erasure album Chorus was the band’s fifth album and their 3rd UK number one. Remastered with a second CD of B-Sides, Remixes (including 4 new remixes) and Rarities plus a third CD containing live "Chorus" performances from the Phantasmagorical Entertainment tour.
No longer making a big American splash outside of its fanbase and alternative radio - and about to be turned into yesterday's news thanks to the techno/hardcore explosion - Erasure on Chorus concentrated on just sounding like itself. With the notable exception of the hypersassy "Love to Hate You," Bell steers away from campiness in favor of a series of gentler meditations and impassioned pleas. "Chorus" itself is another great Erasure anthem, Clarke providing just the right combination of beat and melody for Bell's surprisingly effective tackling of environmental degredation…

Released on Mute on Friday July 28th 2017, the seven track extended single also features remixes of "World Be Gone", "Oh What A World" and "Just A Little Love" alongside the b-side "I Need You Now".
Established in London, England in 1985, enduring alternative dance duo Erasure combine the talents of emotive, broad-ranged vocalist Andy Bell and synth idol Vince Clarke, previously a founding member of Depeche Mode and Yazoo. Like those bands, Erasure is a synth-based group, but with stronger, more house-oriented dance inclinations, as well as a sharp, accessible sense of pop songcraft.

The calmer inner meditations of Erasure behind them, the duo found themselves on Madonna's label in America and released the notably more upbeat Cowboy in 1997. The zeitgeist that the duo perfectly encapsulated in the late '80s had long been left behind, resulting in an album that sounds like it wants to keep the party going when all the guests had long gone home. While Erasure itself could drag here and there, it was still an honestly intriguing combination of new and old for the band, something the pleasant (but little more than that) Cowboy can't claim. At base, the problem is that while the basic Erasure knack of hummable hooks and fine singing remains unchanged, something seems missing - what made songs like "A Little Respect," "Stop!," and "Chorus" more than enjoyably catchy pop isn't there…

While there's nothing wrong with doing an album of covers, putting such a project together has its risks. For Erasure, the experiment yields mixed results. More often than not, they connect with the material in unexpected ways, and certainly with greater success than one might expect from other electronic groups. This is due largely to the fact that these guys have been around long enough to develop a sensitivity to music as being more than a beat and a hook. Their sense of humor leads them to revise "Video Killed the Radio Star" in a way that's not only highly amusing - it actually suits the message of the song. Plus, Andy Bell remains a very convincing singer, particularly on the softer material, where his choir-boy timbre glistens and shimmers…

With live albums, remix albums, and even an all-covers album in their back catalog, Erasure have utilized every stopgap device known to man except the unplugged album, until now. With plenty of dobro, strings, pedal steel, and nylon string guitars, Union Street is a soft, all-acoustic affair. While that may seem an uninspired choice after the excellent and purposeful Nightbird - or downright ridiculous since they are a dancefloor-filling synth duo at the core - the oddball song selection and elegant arrangements are surprising enough to believe this is more than a cash-in or by-the-numbers release. Instead of unplugging "Love to Hate You," "Oh l'Amour," or any of the other club hits that have made an impact past their core audience, Erasure have chosen album tracks and B-sides, most dealing with heartbreak, and a handful dealing with hope…

Erasure perfected their synth-pop/dance sound in the mid-'80s, and over the course of the next decade and a half they continued within that structure. By 1997's Cowboy, the band lost some of their melodic sense in exchange for the techno dance trip. It is nice to say that on this release Erasure went back to doing what they do best: strong melodic pop music full of angst and pain. There's no real experimentation, just the old form of songwriting. This will not win new fans, but it might win back those few who were turned off by the group's dive into techno. Since 1997, Vince Clarke has collaborated on two experimental projects: 1999's Clarke & Ware Experiment with Martin Ware of Heaven 17 fame and the Family Fantastic album. Neither were too successful, but they did provide platforms for Clarke to expand his writing and playing beyond the pop song format…

Starting soft and staying there, Nightbird takes more than a couple listens to pay real dividends, but that Erasure are revitalized is evident first time through. Gone is the trying-too-hard surface-pop of Cowboy and Other People's Songs and back is the intimate, introspective, and great lyrical moments of the ballads scattered among the duo's best albums. Song after song displays that lead singer Andy Bell has grown remarkably as a writer. His vivid tales of isolation and painful regret don't have that Morrissey sting in the tail, but they're just as good for weepy evenings and are just as honest/cathartic as anything the Mozz has written. Bell's prerelease announcement that he's HIV positive explains the malaise that's here and there on Nightbird, but the man's been secretly dealing with the disease since 1998 and his "coming out" relief is reflected in the album's positive energy and extra helping of hope…