I’m less of a music snob than you likely believe me to be; in fact, if you’d asked me two months ago, I probably would have confused the Scissor Sisters with Le Tigre or some other hazily riot grrl band. On a whim I grabbed their first two albums, which quickly became my personal soundtrack as I danced around my apartment, packed it up, moved to my new one, stomped through the streets of Cambridge, sat in coffeeshops around Harvard Square tapping my foot wildly, &co&co. It was as if I’d returned to my old haunt—The Wave, in Norfolk, and found myself woozy and suddenly dancing on stage. Fortunately, the sheer fun of listening to the band dispelled the melancholy of homesickness, and I eagerly anticipated their new one—enter Night Work. Whether you’ve never heard of them—or you have—or you hate them—or you hate music on principle—you should feel obligated to allow this album at least two listens, and come to the revelation that no other album will as perfectly slide into the discomforting heat and ennui of this summer.
Imagine your favorite dance-band revisiting Footloose, Dirty Dancing, and Flashdance, tossing in a stash of poppers and meth, twisting it with a healthy dose of anonymous semen, and finally emerging from that skeezy back-alley to keep on dancing. This is, without question, a rather naughty album; one to dance to, certainly, but more importantly, one to fuck to. It’s got the energy and the Velveeta-drip of the 80s but brings with it the tainted despair of our post-romance, post-social, post-internet age. The album runneth over with runaways, hookers, “sexual gladiators” (as Ian McKellen so wisely says on the album’s final track), tweakers, dirty dancers, terrifyingly deluded stalkers, and lovers who will almost certainly never see one another again (or if they do, say on the T for instance, they’ll studiously avoid one another’s eyes and continue to cruise the other passengers).
