Album Review: Day-Glo (Based On A True Story) // Erasure

After the success of their 18th studio record The Neon, which reached No.4 in the UK album chart, Erasure are back with their new album Day-Glo (Based On A True Story).  In what originally began as a lockdown project from synth-pop mastermind Vince Clarke, Day-Glo (Based On A True Story) started life as a reworking of The Neon tracks, but instead became an opportunity for the synth-pop duo to break their musical boundaries and develop a new sound. The result is a collection of synth-pop recordings that is by far Erasure’s most experimental album yet, with the album veering away from their conventional pop hookies and melodies. It is a real treat for synthesiser lovers. 

Day-Glo (Based On A True Story) begins with the moody ‘Based On A True Story’ which contains elements of The Neon song ‘Tower Of Love.’ The opening track contains very few lyrics, and instead chooses to build on haunting synth chords and harmonies that become louder as the track progresses. It’s a bold ominous opener, but it is a track that sets the precedent for the rest of the album.

 The second track ‘Bop Beat’ provides an increase in speed and frequently drops in early 90s-esque catchy percussion beats. Andy Bell, the vocal genius behind Erasure who has lended his emotive voice to many of the duo’s hits over the years, has his vocals distorted over the pulsing dance floor synth beat. 

‘Pin-Prick’ follows in the same vein as the previous two tracks, with Bell’s distorted wistful harmonies combining brilliantly with Vince Clarke’s innovative synth brilliance. There is no doubt about it; this is Erasure exploring new electronic music territory and a break away from their well defined pop sound, but it is an experiment that works brilliantly well for the duo. 

‘The Conman’ is the fourth track of Day-Glo (Based On A True Story), and it features the first substantial lyrics on the album. Starting slowly, this track develops into a fantastic highlight, with Bell’s lyrical themes about developing one’s own sense of freedom by rising up against oppressive forces combining brilliantly with Clarke’s powerful synth. Bell has found fame within Erasure for his delicate crooning, but here he delivers a rousing spoken word speech over the stirring synth chords. “You’ve gotta rise up, stand up and be counted // don’t be a coward, make your opinion known” states Bell in his invigorating call for change, emphasising the need for communities together in a life which is often fraught by isolation, and it most certainly was during the COVID-19 lockdowns when this album was made.   

‘Inside Out’ is a return to the post-apocalyptic disco sound from the start of the album. Clarke’s fast paced synth arrangement is hypnotising, with his repetitive disco beat almost giving the listener a feeling of entrapment within an electronic synth dystopia. Melancholy distorted vocals heavily layered under autotune work excellently within this track that is surely destined for rave clubs, with Bell commanding us to go “around and around and around” in a monotonous tone. 

The synth pop duo return to their traditional pop roots towards the end of Day-Glo (Based On A True Story), albeit on a much less grand scale both musically and vocally. ‘Harbour Of My Heart’ could have easily been a track on The Neon, with lyrics that centre around love and the ability to acquire freedom. “Don’t you ever give up hope” defiantly declares Andy Bell, returning to his signature crooning for the first time on this album, with his vocals getting powerfully louder as the song progresses. Despite the return of Bell’s traditional vocals, Vince Clarke keeps his synth arrangement dark and unpredictable, characterised by lonely syncopations and broken up beats. 

Album closers ‘The Shape Of Things’ and ‘The End’ bring the innovative proceedings to an end on a melancholy, moody note. ‘The Shape Of Things’ allows for a return to Bell’s distorted, monotone style of vocals that were showcased during the album’s opening songs, merging brilliantly with Clarke’s slowly rising synth chords. Clarke does choose to bring synth keyboard chords back to the fore for the final two tracks, substituting them for his moody intriguing electronic beats, but he still retains the haunting atmosphere within his arrangements that has dominated Day-Glo (Based On A True Story) and is what makes it so alluring. 

Day-Glo (Based On A True Story) combines COVID-19 lockdown emotions and sentiments with post-apocalyptic disco. This latest offering from Erasure illuminates the duo’s electronic music experimentation talents, and proves that they are much more than just a pop hit making machine. While Day-Glo (Based On A True Story) may not be to every listener’s taste, this fascinating collection of synth pop recordings is one of Erasure’s most creative and innovative albums within their musical catalogue. 

Words by Ester Scott

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