Review Summary: Pet Shop Boys' Masterwork Gave Substance And Emotion To An Inexpressive Commercial Sound
Big city claustrophobia, hedonistic nights and crazy rhythms. These are the key elements of Pet Shop Boys’ magnum opus, "Actually." Their record feels like an incursion in the heart of the night, an entrance dominated by violent beats and waterfalls of keyboard ascensions. Furthermore, it is one of the albums that splendidly showcases the creative side of the 80s synth-pop. Provocative and entertaining, "Actually" designed a new musical actuality which transcended the limits of the decade and became a part of our musical consciousness.
"Actually" is a statement of synth-pop poetry, expressed by cavalcades of electronic sounds and sensible vocal constructions. Blending the club atmosphere with cerebral melodic lines, the album succeeds in creating an original sound that presents the style’s heights. Although Pet Shop Boys' music isn’t tasted by every rock (or even pop) music fan, their sound is recognizable from the first chords because of its nuanced rhythmicity and sheer energy. This makes "Actually" the keeper of an original print, giving the entire concept a sense of unity that is missing from the majority of successful synth-pop records. With this conceptual thread, the album proposes to exceed the dance rink’s limits and to unveil to a public formed of listeners varying from dance addicts to introvert vinyl buffs. The songwriting and lyricism form a conception that escapes the stylistic limits. So, the album resonates with a more interiorized part of ourselves, the songs contouring the sentiment of urban fear and seclusion.
The first moments of "One More Chance" form a claustrophobic introduction in the neon city, the dance rhythms being accentuated by a strange vocal sound suggesting a strangling sensation. The chorus presents the lyric "Push me in the corner and I’ll scream" which amplifies the idea of urban claustrophobia. The listener feels smashed by the city's decadence and the dance becomes a way of fighting the anxiety. Such an image is completely at odds with the usual character of synth-pop, approaching an unexplored subject. Also, this melancholic conception touches the whole album, the feeling of decadence accompanying the future songs.
Due to a collaboration with Dusty Springfield, "What Have I Done To Deserve This?" has the status of a club favorite. Being more than a commercial duet, the song preserves the mystery created by the beginning, showcasing a withered romance whose bitterness is stressed by the repetitive refrain.
"Shopping" is a brilliant consumerism satire punctuated by a vocoder introduction which underlines the idea of artificiality. It presents everything we love about Pet Shop Boys’ music: the synth-heavy arrangements, the sentimental choruses, and the socially charged lyricism.
"Rent” forms an exercise in musical depth. Full of emotion and passion, the moment blends the theme of love (although the song is practically about high-class prostitution) with the spirit of a dark Polaroid photo of the 80's London. With an impressive melodic line, "Rent" contours the charming tristesse of this hedonism. I perceived "Rent" as a painting of a decadent scene with uplifting nuances, with something that could save the promiscuous from disgust.
Without a creative consistence, "Hit Music" is a disappointing miss. Too brutal to continue the sentimental "Rent", it wants to be a satire towards the commercial music. Instead, it went rapidly out of fashion due to the questionable lyrics and boring arrangement.
Contrary to the aridity of “Hit Music”, "It Couldn’t Happen Here" emotionally amplifies the mysterious atmosphere. The orchestral arrangements (conducted by David Lynch’s composer Angelo Badalamenti) give majestic resonances to the composition’s beautiful darkness. It’s charming, warm, and profoundly touching, the nuances creating a dreamy nocturnal landscape.
"It’s A Sin" constitutes the album’s pinnacle, being a perfect mix between the social themes and ardent rhythms. The song remains a summary of the Pet Shop Boys’ style, highlighting the expressive force of synth pop. By blending the metaphorical meaning with the explosive rhythms, the song gets a power that gives the entire album a definite direction. Without "It’s a Sin", "Actually" wouldn’t be a part of today’s musical actuality. Because of its force, it forms the moment when the listener realizes the album's power.
"I Want To Wake Up" contours a gloomy atmosphere that drives the entire song into pessimism. Having the flavor of a kitchen sink drama, it represents the new direction for British pop realism. The atmosphere is depressed and hopeless, with a disturbing ambiguity.
"Heart", like "Hit Music", doesn’t build up a memorable climate, being a part of the downs of "Actually." It feels too anchored in the 80's generic music, so it disappoints in comparison with the other songs.
The finale, "King’s Cross," represents the most melodic moment, being a fusion between the melancholy expressed by "I Want To Wake Up," the anxiety from "One More Chance," and the calm character of "It Couldn’t Happen Here." Pet Shop Boys finish the album in an elaborate tone which combines the entire work’s strongest points, demonstrating again the creative peaks of "Actually".
Despite a few conceptual stumbles, the importance of "Actually" becomes more and more evident with every listen. The complex rhythms, the empathetic compositions, and the lyrical craft make the album a turning point in the entire pop decor. It proves that the commercial music can have definite intelligence. Romantic, accessible and chaotic, "Actually" highlights the synth-pop's conceptual peaks, being the Pet Shop Boys’ release that gave the most accomplished combination between musical complexity and club atmosphere. "Actually" still inspires and enchants, being a bewitching exhibition of beats, hedonistic ideas, and emotive songwriting.
