Scissor Sisters - Magic Hour

When Sandie Shaw sang about a puppet on a string in 1967 it seemed highly unlikely that there'd ever be a day when a band named after a lesbian sex act would enjoy #1 hits and albums in the United Kingdom. And yet, even from their debut album, the band have continued to bother UK charts with their risqué music videos and flamboyant sounds. Whether it was the photograph of Peter Reed's arse or a lack of mainstream pop songs, 'Night Work' was the band's first album not to top the charts. Then again, we have Eminem to blame, so no shame there.

There is the worrying fear that the band have now become an alternative disco pop outlet. Sure, album #4 earned a #4 place over here but that was behind the rather unexciting Paloma Faith, Gary Barlow and Rumer. Their earlier sound of quirky, infectious Elton John derivatives has made way for hands-in-the-air electropop and whilst there've still been some fantastic moments - the Ian McKellen verse on Invisible Light - they've slightly faded into the background, and that's never a situation the Scissor Sisters and their exuberant live performances have been comfortable in.

 From the start, though, Magic Hour looks back to happier times. 'Baby Come Home' is such an immediately original song from the band that could slot comfortably into their debut or Ta-Dah! Blending squelchy synths with a jaunty rhythm and pianos, it's a brilliant opening chorus that harks back to better days. They part ways with their earlier sounds though on 'Keep Your Shoes On', which fits in more suitably with producer Boys Noize's usual collaborators (Black Eyed Peas, Kelis). "Don't stop 'til the early morning" should give an indication of the tongue-in-cheek (or arse) forthrightness of the track, but it's a little too in your face. Pharrell Williams' single writing/production credit is 'Inevitable', a slow, sweet slice of summer that's much more enjoyable. The falsetto vocals throughout reinstate the whole sense of Bee Gees inspiration the band have long carried, and it's an identifier somewhat lost on their first single: 'Only the Horses', the fist-pumping shrill mess that's the latest in a long line of incredibly similar-sounding Calvin Harris singles. Shears' male vocal might detract from the whole We Found Love/Call my Name/Let's Go debacle, and ultimately it's indeed very catchy, but it all feels slightly soulless.

A whole host of 80s sound effects - at one point I'm almost certain I hear a Roland CR-78 - make up an interesting Diplo production on 'Year of Living Dangerously', a slow building "this is my time" moment that's more funky than self-righteous. Slightly more abrasive, though, is the outrageously flamboyant 'Let's Have a Kiki'. "You know that MTA stands for motherfuckers touching my ass" complains a feisty Ana Matronic on someone's voicemail, before a chorus of multiple camp voices vowing to "serve, work and turn". "A kiki is a party for calming all your nerves", we're told, and it's a pretty enticing prospect in amongst all the daftness and fun. For the first time in their career, if I remember correctly, the band grab a feature spot in the way of hot-new-thing Azealia Banks on 'Shady Love', the New Year's Day taster that pretty much wowed everyone. Armed with an odd music video (of tacky school productions) and the novelty of Shears attempting to rap ("she's gon' vote for Obama/ and she likes to dance to Madonna"), the track somehow works thanks to a blistering tune and pounding verses.

Anything would sound boring following those two, but 'San Luis Obispo' is far from it: a cute latin-inspired ditty, it's a convincing embrace of summer and the tropics. I'm not entirely sure which '90s rave-pop hit it reminds me of (I'm torn between Snap! and Black Box), but 'Self Control' is a pretty catchy, simple dance tune. "Had every chance to walk away from this needle in the hay" is a stinker of a lyric and sadly 'Best in Me' is an instantly forgettable tune to boot: not particularly poor, but just surrounded by far superior songs. An interesting ode to language, 'The Secret Life of Letters' sees Shears more restrained, musing "what's in the air? There must be something there/ but it's not in service today". Sadly though, even for a Stuart Price ballad, the song's again dangerously understated and far inferior to earlier ballads - and when you've pinned songs like Mary and Land of a Thousand Words that might be easy. The band attempt to wind down the party with the impossible-to-fail 'Somewhere', a laidback and satisfying end to what's effectively a lovely night out. Ana Matronic ends, though, with one of her messages (that we haven't seen since the debut, but you're not missing much).

It's almost formulaic now for a Scissor Sisters album to come under the bracket of "no songs as good as 'I Don't Feel Like Dancin' but it's consistently good". For some, that seems to underwhelm. Maybe there is something significant there to mourn, but I still call myself a fan of the band. Their whole aesthetic, their blends of genres and influences and the whole lifestyle about them is intoxicating, and whether or not the songwriting is deteriorating might get lost in a very purple haze, they've still managed to consistently pull off excellent collaborations (Shady Love, Invisible Light) in amongst all of the dross (Skin this Cat, Best in Me). Fans will love Magic Hour; new listeners will find something enjoyable.

Rating: 8/10
Highlights: Shady Love, Inevitable, Baby Come Home, Self Control, San Luis Obispo
Avoid: Best in Me

Artwork Watch: It begs the question: does an increasing awareness of self-image and aestheticism matter when there are zebras?
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