The Bextor is back..Posted: March 24, 2010
Now, I’m going to try and make the following review on the new comeback single from the beautiful, talented and downright brilliant Sophie Ellis-Bextor as objective and unbiased as possible; so I apologise if my love and obsession for her and everything she does gets in the way of a fair and balanced study of her latest new pop tune.
S E-B, as she is no doubt known by her friends, has been around for a good 12 years now whether that be fronting the brit-pop indie band ‘Theaudience’ in the late nineties, being the epitome of nonchalant indie chic, or the dance floor diva of the naughties, on ‘Groovejet’ where she seemingly had her tongue firmly in her cheek almost winking into the camera as if to say “I know, get me I’m singing on a cheesy dance track and I’m still effortlessly cool.” Bitch.
So it has been over three years since Sophie’s last release, the main exception being the epic Freemasons collaboration on ‘Heartbreak (make me a dancer)’ last year, because she had another baby and apparently, you can’t be serving up deliciously crafted electro-pop and look after a new born baby at the same time. I know, some people are so selfish. She is also married to a member of The Feeling but let’s not hold that against her as the heart wants what it wants and I’m sure she couldn’t help falling in love with such a talentless oaf!
However, all of this is forgiven on hearing the new single ‘Bittersweet’, a risky title for a comeback single don’t you think, especially if it doesn’t exactly set the charts on fire? In fact ‘Bittersweet’ which is about loving something you shouldn’t, being unable to resist that guilty pleasure could be about the aforementioned relationship with her aforementioned useless husband, but probably not.
An eighties inspired track which marks Bextor’s return to the dance floor after previous more poppy endeavours is a welcome change in direction. The Stock, Aitkin, Waterman ‘You Spin Me Round’ style production, courtesy of the Freemasons, transports you back to the late eighties without going down the more contrived and, err, shrill route La Roux took with her Eurythmics parody of a record. It’s a satisfying comeback with her voice still as sharp and well enunciated as ever complimented by the swish of building synthesisers and the stuttering of drum machines. However it is danceable enough, I hope, to appeal to a wider, less obsessive – outside her house with my night-vision goggles would take a bullet for her -hard-core fan like me.
Yes, I know that my obsession got in the way of my review there so basically it’s a likeable enough dancey pop song in the mould of recent electro-pop songstress’. It’s not going to attract her any new fans, or lose her any but I hope it’s catchy enough for her to be strutting back into the top 10 where she belongs.
(oh and she looks lovely in the video, doesn’t she.)