◼ AFTER FIVE YEARS OF BLAGGING, and five years of feuding with former collaborators, 80s Blitz Club deejay Rusty Egan’s own “electro-diskow” album, Welcome to the Dancefloor, is out this week and it amounts to a superb sonic landmark. He and his guest performers engage an impressive range of emotions by dramatically humanising the potential starkness many associate with electronica.
Welcome to the Dancefloor
Rusty Egan (Black Mosaic)
Spookily, their energy rockets us immediately into that vast clean stereo soundscape that uniquely defined the new music of 1980. Here synthesiser chords are stretched and layered and cracked like a whip, as if by an invisible hand in another time and space, which of course was precisely the sound of London clubland when its youth culture erupted as a volcano of creativity. The album’s pacey opening track finds ex-New Order’s Peter Hook on The Other Side spinning through the Milky Way, his thin 80s vocal style querulous and wistful, yet poppily optimistic.
That era did after all abandon the overpowering noise of the rock stadium and the punk nihilists to celebrate a return to melodious singing voices and to arch lyrics meant for listening, while synthesisers defined a fresh musical ambience. Inexperienced young artists unsure about their singing ability half shouted, half vocodered their limited vocal range to re-imagine their teenage dreams on a different planet.
Egan’s collaborators: click any pic below to launch slideshow
While Egan has carefully selected 13 tracks reflecting the wide spectrum of synth possibilities, half are love songs in the spirit of the 80s generation who were dubbed by the press New Romantics. Nevertheless he has created a consummate showcase for electronic music, co-produced by Nick Bitzenis (aka Nikonn), has had a hand in writing a majority of the songs, many co-written with Chris Payne (of Fade to Grey fame), these subsequently endorsed and expressed by a handful of starry friends such as Midge Ure and Tony Hadley on tracks of their own.
Despite its title, this is not dance music that the funk nation would groove to. Laying down a dominant 4-4 beat is not conducive to free-form movement unless you think you’re Tik or Tok. Exceptions include Egan’s own pulsating title track with robo vocals as if by Stephen Hawking and knowing breaks parodying Tenek and the Human League; also the nippy number Hero, which gains spiritual resonance from Andy Huntley’s richly textured delivery.
The stand-out track is Midge Ure’s transformation of an Egan/Payne song titled Glorious. He rewrote lyrics and melody so as to construct one magnificent crescendo filled with space and tension reminiscent of “Oh, Vienna!” A close second for reconjuring the authentic 80s is Egan’s own Wunderwerke, driven by his Trans-Europe vocals through classic synth sweeps, hypnotic repeats and bass stabs. Third comes Erik Stein on the astonishingly contemplative Ballet Dancer, basking in a wonderful waterfall of synths.
Like Brexit, Tony Hadley *is* Tony Hadley and here (without the Ballet) on the coltish lovesong Lonely Highway he canters to the top of a whole new hill as a crooner. What distinguishes this album is that it’s awash with affecting lyrics and fine voices to listen to in the name of electro pop – among the gentlest are Be The Man featuring the gorgeous inflections of Kira Porter; Nicole Clarke’s ethereal contribution to Love Can Conquer All; and Love Is Coming My Way, a second number from the silken-voiced Stein.
And just wait for the Chariots of Fire finale: Egan’s intensely personal track, Thank You, which unleashes a shock of the best kind. To describe more would be to spoil a gifted idea. It is emotional and all too evidently sincere. Thank you, Rusty.