Scissor Sisters
Night Work

After listening to the latest Goldfrapp album, which I considered definitive in terms of 80s pop revival, I thought any other attempt would be less complete and more superficial. I had evidently forgotten about the technical expertise and intelligence of the Scissor Sisters, a flamboyant and frivolous band, that hides great skill beneath gloss and glitter.

Years after their previous album "Ta-Dah," they present "Night Work," which, starting with the vintage cover photo, promises to be a new and exciting journey among the neon lights of the 80s. The Scissor Sisters update their well-known mix of 70s pop à la Elton John and disco music, focusing on the following decade. However, while Goldfrapp evokes the more dreamy and magical aspects of the era, here we dive into decidedly dance atmospheres. More "Flashdance" than "Ladyhawke," so to speak. And the theme of the night, seen as a moment of fun, carefree living, and sensuality, reigns supreme. In each song, you can feel warmth, even sweat. A step forward from the idyllic landscapes of the previous two albums.

The title track acts as a sort of manifesto for this new direction, kicking off a parade of camp aesthetics where the kitsch oozes from every note. More typically vintage synthesizers make their appearance in the following "Whole New Way," eclipsing for a moment to make space for the airy piano of the lead single "Fire With Fire," a track with an extraordinarily fluid and luminous melody. In "Any Which Way," one can feel the flavor of the Bee Gees, present in the falsetto singing and the rapid, serpentine breaks in the chorus. "Harder You Get" proposes a warmer and darker atmosphere (in a good way) with its electronic tremors and distorted electric guitar, outlining an unusual futuristic cityscape that also returns in "Something Like This." In addition to the pop rock of "Running Out", the keyboards of "Skin This Cat" stand out, likely referencing Donna Summer's "State of Independence." 

More genuinely disco and powerpop rhythms peek through in "Skin Tight," eventually exploding in the overwhelming "Sex and Violence," one of the album's highlights. The eternal pulse of "I Feel Love" makes an appearance, a song by Donna Summer that has been often cited over the past 30 years. It continues with the more modest "Night Life" and ends with the majestic "Invisibile Light." It is the most dance-oriented track on the entire album, its length even suggesting a remix of a song. The unusually virile singing recalls the vocalist of Boney M. A deliberate reference that also appears in the lyrics, alluding to "Rivers of Babylon" by the German band. The nearly seven minutes that make up this track outline a crescendo of rhythm and tension, supported by seemingly tribal drums and warm, colorful keyboards. 

The album ends abruptly and a sort of fatigue falls over the listener, as if they were returning from a long night at the club. What remains at the end of this listening experience? A sensation of heat and stickiness, like that caused by prolonged contact with too many human bodies in a crowded environment. The "night work" is finally over, but one goes to rest with the hope of resuming it very soon.