By Brian Turk
By Drew AIles
By Taylor Boylston
By Bree Davies
By Emerald O'Brien
By Gina Tron
By Jon Solomon
"I think it's very interesting," he says about the newfound enthusiasm for electronic music in the U.S., "but I'm skeptical as to how far it will actually go commercially. At the moment it seems to be more of a media event." Still, he concedes, "I would be pleasantly surprised if groups like the Prodigy start getting played on Top 40 radio. I really hope it will take off. I think it would be fantastic if the radio DJs got away from playing the same old rock music all the time. I'm a fan of a bit of variety."
Not that Cowboy, recorded in Ireland under the supervision of Neil McLellan and onetime Depeche Mode producer Gareth Jones, represents an enormous departure from Erasure's previous efforts. The disc contains the group's usual mix of material: worthy, hook-laden efforts like "Reach Out," in which Bell's rich soprano is bathed in bubbly synth washes, and the melancholy "Don't Say Your Love Is Killing Me"; bids for airplay such as cover versions of Blondie's "Rapture" and Burt Bacharach's "Magic Moments"; and other cuts that constitute varying degrees of filler. This formula is accessible by its very nature, and Erasure's steadfast adherence to it raises questions about Clarke's commitment to taking new creative risks. So, too, does his response to questions about the overall concept behind the new album. "There isn't a theme, really," he says, sounding exquisitely blase. "That's why we called it Cowboy. We could have just called it Ten More Songs, but that would have sounded a bit naff, so we just called it Cowboy. It makes for a great stage concept, however."
Do these downbeat comments imply that Clarke is going through something of a creative mid-life crisis? After all, Erasure's approach might seem a bit out of place in a music industry dominated by the likes of Marilyn Manson and new labelmate Alanis Morissette--and even though portions of Cowboy rival or surpass the quality of his best-known work, that might prove frustrating for a market-conscious animal like Clarke. Still, the keyboard master denies that he's a bit bored with his signature sound, and he heaps praise upon his partner.
"Andy Bell and I just get on well," he notes. "We have a good relationship. And we write together, which makes a big difference in the band's rapport. When I worked with Martin Gore, from Depeche Mode, and Alison Moyet, from Yazoo, we didn't write the songs together in any real sense. But with Andy, that's not the case. Our hearts are in this work. We are both personally involved with the songs as we create them, and as a result of that, the whole songwriting process is a very comfortable situation. If one of us is not into an idea, then the idea is simply dropped. Neither of us gets too precious about an idea being his.
"You really have to bare your soul when you write a song or when you have to sing or play an idea to somebody else," he asserts. "It took a while for Andy and I to reach that comfort zone, but we've come to know each other so well now. If there's any kind of problem at all, we identify it immediately. We can almost read each other's minds."
The pair also shares an interest in the technology that underpins their music. The liner notes for Pop! The First Twenty Hits, a best-of package that reached stores in 1992, sports a list of the eighteen different synthesizers and sequencers Erasure has used over the years, including the Roland Jupiter, the Sequential Circuits Prophet VS, the Obie Rack and other no-longer-cutting-edge devices that Clarke has since retired. In addition, the twosome have been in contact with some of the newer artists they've inspired--namely remixing stars Tin Tin Out and Matt Darey, who recently put out new variations of "Oh L'amour," and Jon of the Pleased Wimmin, responsible for the remix of "Don't Say Your Love Is Killing Me." Clarke admits that this contact has had an effect on his music, as have the sounds these younger musicians have been making.