Every few years, Bell despite his double hip-replacement surgery, past battles with substance abuse, and coping with being HIV-positive clicks his heels together three times and, indeed, there is no place like home. Erasure returns to the buoyant blue-eyed soul and exaggerated affectations that have been the group's tropes since 1986, love it or leave it. Lyrically, Erasure has become increasingly disclosing, as exhibited by Bell addressing his mother's alcoholism on "Storm in a Teacup." Dysfunction and devotion continue as the diametric balance kept by Erasure songs, which always bubble with unrequited yearning. Songs such as "Sunday Girl," "I Could Fall in Love With You," and "Sucker for Love" just deliver the angst at a brisker pace than the nocturnal patinas of 2005's Nightbird. Light at the End of the World is another Technicolor-sequined feather in what is to Erasure old hat.