‘The Circus (Grumbling Fur Eternal Eraser Mix)’ is taken from the forthcoming compilation ‘Always – The Very Best Of Erasure’ which will be released in October to celebrate Erasure’s 30th anniversary. Featuring music from all stages of the band’s career – including ‘A Little Respect’, ‘Blue Savannah’, ‘Drama!’, ‘Always’, ‘Breathe’ ‘Love To Hate You’ and ‘Elevation’ – the compilation will be released on October 30th. ‘Always – The Very Best Of Erasure’ will be available in a 1-CD Digipak edition as well as in an expanded 3-CD deluxe hardback book format including remixes from Moby, William Orbit, BT and The Grid (Richard Norris with Dave Ball of Soft Cell) alongside 4 brand new mixes.
Heathen marked the return of record producer Tony Visconti, who co-produced (with David Bowie himself) several of Bowie’s classic albums. The last album Visconti had co-produced was Scary Monsters in 1980. This was the first album since Bowie’s pre-Tin Machine work to not include guitarist Reeves Gabrels, who is replaced by David Torn and Carlos Alomar (and other guest guitarists).
The debut album ‘Nevermen’, released on Lex Records / Ipecac Recordings on the 29th January 2016.
Awake represented a high-water mark for Scott Hansen, the San Francisco musician better known as Tycho. Described by Hansen as, “in many ways, the first True Tycho record,” Awake announced the arrival of Tycho as a full band, and it found Hansen streamlining the group’s sound, focusing on the drums and aiming to capture the energy and power of the group’s live set. The story of Awake arrives at its natural conclusion with this 12” of remixes, on which Hansen’s songs are re-interpreted by producers who make the songs their own while retaining all of their core elements. The digital release is out January 15th on Ghostly International, with the physical release set for a May 20th release.
Baio, who splits his time between solo work and his role as bassist in Vampire Weekend, gives “Plains” a kind of soulfulness, adding a driving rhythm to the original’s beatless ambience and dropping in snatches of vocal for texture and warmth. RJD2 takes the swift-kicking “Apogee” and transforms it into tranquil instrumental funk; In the hands of Few Nolder, “Montana” becomes tense and driving, four-on-the-floor beat undergirding bright, rippling synths.