You know what’s really, really gay in the most ferocious of ways? This promo still for the new Scissor Sisters album, Night Work:
Camp, after all, is a queer sensibility derived from the French slang camper, which means “to pose in an exaggerated fashion”, and this photo is all about the highly stylized placement and posing of our beloved Sisters. Of course, this photo is also about Ana Matronic’s hair. And that double breasted jacket. And those fetching high heels. And Del Marquis being my favorite piece of guitar-playing, suited-up hot sex. And the pearls, OH, the pearls! In fact, the only thing that throws this picture off is Jake Shear’s vinyl underoos. Girl, don’t go butchin’ my heart!
ANYWAYS, the new Scissor Sisters album, Night Work, is streaming over on MySpace, and the Sisters and producer Stuart Price have met–nay, exceeded!–my every hope of making the most gloriously gay album EVER. Clearly this means you need to give it a listen. Immediately. And really, why wouldn’t you?
Night Work is debauched, post-disco genius, an irresistible sonic distillation of dancing go-go boys and Chelsea Piers blow jobs on a particularly sweating evening during the summer of ’82. Sure, the Scissor Sisters have always had a pop sensibility that makes their appeal far broader than the queer niche, and you obviously don’t need to be a ‘mo to appreciate this album’s brilliance (I sincerely think this is their best to date), but you’ll probably wish you could swish the way the Scissor Sisters do by the time you’re done listening. Seriously, y’all, Night Work is here, it’s queer, and it’s totally fucking fabulous.
Nobody Puts Baby in a Horner 
What’s your favorite track so far?
For me, it’s a three way tie between “Any Which Way” (because of Miss Matronic’s little monologue), “Night Life” and “Invisible Light” (because of SIR Ian McKellan doing his best Vincent Price).
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Oh man, I honestly am still not entirely sure. I totally agree with “Any Which Way” (for being so unrepentantly disco, and for perhaps the best Ms. Matronic monologue since the monologue from the original “Filthy” mix of “Filthy/Gorgeous”), and the combination of “Night Life” and “Invisible Light” makes for one of my favorite album closings in quite some time. I equally love “Night Work” for so perfectly setting the album’s tone and feel (it makes me want to don leg warmers and do my best Jennifer Beals), and “Harder You Get” is awesome if for no other reason than Jake Shears doing his sinister voice. I think I’ve mostly come to the conclusion that I really love Night Work as an album in full. Ta-Dah had some spectacular stuff, but I also still find myself skipping over certain tracks, whereas Night Work‘s a whole-way-through listen for me.
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