[International Deejay Gigolo Records]

Taken from Hell’s ambitious double album Teufelswerk, “U Can Dance” unapologetically looks back at electroclash with rose tinted glasses, Bryan Ferry lacing the track with his languid, lounge lizard tones. Hell’s original (with help from Peter Kruder and Christian Prommer from Trüby Trio on programming) starts off strong, merging icy cool, arpeggiated synths with Ferry’s equally frosty serenade to a club nymph. Though clocking in at nearly ten minutes, it is in danger of overstaying its welcome after two thirds of the way through. The keyboards start getting a little cheesy and Ferry has long since left the vocal booth, presumably in search for a cigarette or a martini; in any case the magic is over by the six minute mark or so.

Carl Craig provides two typically on point remixes, his first employing pulsing chord stabs, which build slowly for the first couple of minutes before the kick drops, then slowly open and close over the course of the track. With very few other incidental sounds it’s a solid if restrained remix from Craig which still fits the aesthetic of Ferry’s vocal. His second remix fires off arpeggiated synth lines in a very Detroit fashion, slowly bringing in further elements as the track evolves, some so subtle in the mix they’re barely perceptible. The Simian Mobile Disco remix starts off well enough with a deep, simple bass line and well executed drums, but as the track progresses they add too much and steer the promise of a good remix into a completely different direction. By the half way mark things have taken a turn for the worse with progressive house hijacking the remix and taking it off to a land of whooshing, dramatic breakdowns and siren fueled drama. Tim Goldsworthy turns out a distinctly unmemorable remix that fails to ignite throughout its eleven minute duration. The separate elements look good on paper: Goldsworthy takes on Ferry, spacious tom toms, menacing disco overtones, acid tinged madness creeping in around the edges, but thrown together with the vocal it all seems a bit staid, lackluster. With the only highlights coming from Carl Craig it’s a very hit and miss affair for Hell’s “U Can Dance” remixes.