Make a scene: Review

MAKE A SCENE (2011, EBGB RECORDS)

Three albums, four years of recording and delays, and five singles later, Sophie Ellis-Bextor has returned with one of the most anticipated albums of the year - "Make a scene"; collaborating with the cream of pop-dance producers including voted #1 DJ of the world Armin Van Buuren, chart toppers Calvin Harris and Freemasons, that incredibly talented Joe Mount of Metronomy and God himself - Richard X. Of course, there are a few regulars here - Greg Kurstin, Liam Howe of Sneaker Pimps and Dimitri Tikovoi; and a surprise collaboration with Fred Ball... So does this make the album a generic and manufactured one - NO!

The album opens with a bang (literally - "bang, bang, it’s a hold up"). Revolution, the album opener, has Sophie attempting a monotone delivery for the second time in her career (check the middle-8 from "Making Music", Shoot from the Hip). The chorus is simple, repetitive and arresting; the "army" hook is catchy. Cathy Dennis, who worked with Sophie on her last top 10 hit Catch You (which was also a Denis/Kurstin collaboration), co-wrote the song - and in fact, came up with the self-referencing line in the song (the line in the bridge - "face to face its murder on the dancefloor"). Revolution is highly energetic and frenetic, but is very short. It feels like the song is in a hurry to be done and introduce what seems to be Sophie's best album yet. (9/10)

All those cymbal crashes in Revolution lead to this big crash in the very beginning of track two. Bittersweet is a song produced by Freemasons and Biffco. The song was Sophie's second single off the album, but failed to set the charts on fire. Nonetheless, it received an overwhelmingly good response from her fan-base and went on to become the Song of the Day on PopJustice. It even kept Sophie on top of the PJ Almighty for what seemed like an eternity. Bittersweet is enthralling - with flawless production sampling bits from "Fade to Grey" by Visage and "Blue Monday" by New Order; the song even draws influences from "You Spin Me Around (Like a Record)" by Dead or Alive. Sophie effortlessly mews over the production. The meandering melody in the chorus, the cut-up vocals in the middle-8, the whispering bits and that incredible close to the chorus (the heavenly "oh-oh-oh-so here I am" bit) - all these make Bittersweet the ultimate pop/dance song that most solo female acts would kill for. To sum up, the song is a modern classic. (10/10)

Off And On, the planned-to be-sixth single off the album, is the first of the two songs with no lyrical contribution by La Bex. Originally written and demo-ed for Roisin Murphy's 2007 album, 'Overpowered', the song was handed over to Sophie to promote the then-planned Greatest Hits compilation. Fortunately, recording sessions proved fruitful and now we have the 4th album instead. Off And On is a commercial electro-pop number, which has been edited since its original premiere on Sophie's MySpace several years ago. Could this be the first top ten single from the album - I sincerely hope so, but only commercial radio can give this song the exposure it deserves. (9/10)

Heartbreak (Make Me A Dancer) was also made to promote the GH compilation. The original demo is significantly different from the final mix that was released as a mutual single by Freemasons and Sophie back in 2009. The song charted just outside the top 10, but stands as the highest charted single from the album (in the UK) and has become one of her most popular songs since Murder on the Dancefloor. Described as electro-dance monster, the song will have you moving along to the loud synths and the big beats. This song, along with Bittersweet, proves that the Bex Monster and Freemasons are a match made in pop heaven. The Freemasons have always had brilliant and glittery production on their songs; their two songs on this album are no different. Their production brings out the emotion and drama in Sophie's voice - something that is absent in your regular commercial dance songs (yes Guetta, I'm talking about you) (9.5/10)

Not Giving Up On Love, the fourth single off the album, is a trance song, with a simple piano loop, great synths, some live drums thrown in here and there and, of course, Sophie's ever-so lush vocals. Miss E.B. is no stranger to melancholic melodies - what some fans consider her forte. The song is a collaboration with Armin Van Buuren, who is the voted #1 DJ of the world. The song was a big success in several countries across Europe but had no impact on the UK Charts. Vocal trance is a new field for Sophie, and I look forward to more trance DJ-collaborations in the future. The full length club edit is so much better than the hurriedly edited radio version, but you simply cannot have a 6+ minute trance track in the middle a pop album - still, it is worth listening to. (10/10)

The next song, Can't Fight This Feeling, is a collaboration with upcoming French DJ Junior Caldera. This is his biggest success across Europe, and in fact the song got a lot of attention from Sophie's fanbase in Russia and some other countries across Europe. On my first listen, both track 5 and 6 stuck out like a sore thumb. The song isn't bad at all. It is very commercial sounding, very 2009-10. Its weird because her songs almost never sound 'current'. Its very hit or miss really. I liked the song a lot when it was released as a single before Bittersweet, but the shine has worn off now. Sophie has recently written another track with Junior Caldera. Lets hope that song sees the light of the day in some form. (7/10)

If I have to sum up the next song in one word, I would only say "heavenly". Starlight, produced by Richard X *screams* is straight out of the 80's. Starlight is released as the 5th (overall) single from the album, the 4th in the UK. You can watch the video, directed by her father, Robin Bextor, right here - http://www.youtube.com/watch?v=DDlkxDu06OU

The song has a melancholic feeling, and is slightly ethereal and lush. This is definitely one of the best songs on the album. I'd love for Sophie to work with Richard X *screams* again. Starlight is positioned in the perfect place - and feels refreshing to listen to after 6 dance songs that play back-to-back! You don't know what heaven feels like until you have heard this song. Everything from the slick production and the poetic lyrics to the lush vocals are perfect. One thing that will really grab your attention is the almost-Madonna-esque middle-8; "We are one". (10/10)

Sophie performed Under Your Touch last year on the Album Charts Show and I was really looking forward to listening to the studio version of the song. It is produced by long time collaborator Liam Howe of the Sneaker pimps. The song begins with eeire strings, which brings to mind Madonna's "Sorry". The song has a very busy production, with loads of sounds building up as the song progresses. Sophie sounds fantastic. The mechanised vocals in the song were a nice surprise. It might sound slightly filler-ish on the first listen, but after a couple of listens, the song grows on you, and you tend to put this into a long list of songs that should be singles. (8.5/10)

The title track, Make A Scene, is unlike anything that she has ever done before. The song begins with some clunky notes and a strange beat, and soon builds into this really bouncy jam. The chorus is phenomenal and has Sophie screaming "come on now" as she makes a scene. The almost spoken verses, the saxophone, the really weird drum sequence that sounds a little off-track in the first few seconds, Sophie screaming in some places - in theory this will seem like one of the worst ideas ever. But it all comes together so well - everything feels so disjoint, but at the same time, its all very 'together'. One must give sufficient credit to Joseph Mount, of Metronomy, who helped co-write and co-produce this song. You can definitely hear some 'Nights Out' influences in this song. You might even say that this song sounds like something off Roisin Murphy's 'Ruby Blue' album, crossed with production by Basement Jaxx (now that is a collaboration that should happen!). I'd love to see more Sophie-Metronomy songs in the future.(10/10)

Magic is the second of the two Richard X *screams* songs on the album. The song is, as the title suggests, magical. It begins with simple "ooh ooh"s and builds up into this 80's influenced, scratch that, 80's epic. A simple-but-massive chorus takes centre stage; the production really brings out the best in Sophie's voice. I'm a sucker for anything Richard X *screams*, but this has to be one of his best productions. Lyrically, the song is very poetic, much like Starlight. The middle-8 contains whispers again. Sophie brought whispers back in fashion - I'm not even sure if whispers went out of fashion, but I'd love to give Sophie credit for putting whispers on two (thats right, TWO) songs on the album. Well done Sophie. Well done Hannah. Richard X *screams*, I salute you! (10/10)

The next song is a historic moment in pop music (or so I think, don't burst my bubble). Sophie is probably the only popstar in the world to have used the word "politicise" in a song. And as a fan from PopJustice once said, she is also, probably, the only popstar in the world to have written an electro-pop number about a text stalker. Now THIS is your quirky pop song. The almost story-like lyrics describe Sophie's attitude toward her text stalker. One line in particular - "when you're lost at sea, I'm on land" - is like a slap-in-the-face-get-a-life type of situation. I love the general bitchy-ness about the song. Dial My Number is produced by Liam Howe and co-written with Hannah Robinson. The song, like the other Howe production, is very busy sounding, and quite loud. This was probably the most anticipated song on the album - and it could end up becoming a fan-favourite. (9/10)

Homewrecker is such an amazing-title for a pop song. You'd expect swearing and cursing on this song - but surprisingly, there's no swearing or cursing... or is there? The lyrics of the song are intentionally blunt, but also very witty. The “ho..ho..homewrecker” bit caught everyone by surprise. Its right there, she’s actually swearing, but its so wonderfully hidden beneath the apparent hook. Only Sophie Ellis-Bextor could swear and still sound so posh, take notes Ke$ha. The song is produced by Greg Kurstin, and has some similar production gimmics. The organ in the beginning of the song make this song seem almost-demented in some ways. Well done, Sophie, well done! (8.5/10)

Now is that point in the album when you're pretty much done with dancing and jumping around, and you just want to sit down and listen to some good pop music. And Sophie knows that. Synchronised, is the first of the two ballads on the album; the second song with no lyrical contribution by Sophie, and is truly immense. The song sounds very commercial - kinda like "If You Go"'s moody little sister. The song focuses on Sophie's vocal power, and that is, essentially, what makes this song a masterpiece. Sophie's vocals have never sounded this good and emotive. Here is solid proof against all those people who claim that Sophie cannot breathe life and emotion into a song - IN YOUR FACE, HATERS! (10/10)

Cut Straight To The Heart is the perfect close to a perfect album. The song features lyrical contribution by the infamous Ed Harcourt. Sophie sounds very vulnerable, and the general feeling and production of the song can be compared to one of her older songs from her second album - "I Am Not Good At Not Getting What I Want". The track has beautiful instrumentation, and also samples the drum sequence from Placebo's cover of "Running Up That Hill (A Deal With God)", which is also, not so surprisingly, produced by Dimitri. The song might be slightly over-shadowed by the amazing-ness of its predecessor, but is no less brilliant. Sophie finishes the album in style. (10/10)

If you haven't heard this album yet, you haven't really heard what good pop music sounds like. Sophie has once again proved that she truly deserves the title "Pop Goddess". Well done.

ALBUM HIGHLIGHTS:
Bittersweet
Not Giving Up On Love
Starlight
Make A Scene
Magic
Synchronised
Cut Straight To The Heart

OVERALL RATING: 9.3/10. Plus, additional 0.7 for the brilliant artwork and photographs in the album, all the effort that has gone behind getting it finally out there. A solid 10/10 effort overall!


...yes, this is exactly how I feel about the release. Its finally here, and it is flawless. Make sure you legally purchase a copy (or two) of Make a scene.

Link to online sites where you can buy the album:
iTunes UK
Amazon
7Digital

Buy the CD from here:
Amazon
HMV
Play
Tesco

Early Reviews

I DO NOT OWN THE ALBUM, AND I HAVEN'T HEARD IT YET. BUT...

01. Revolution - Same version as the one that leaked except it's much more crisp sounding. Better bass. Fantastic start to the album. Just noticed it's shorter than the leak. It cuts out the "army army army army army" bit after the first chorus. Now it only has it after the second and third choruses.

02. Bittersweet - Same as single version.

03. Off & On - The new version is lovely! it's actually got a slightly longer beginning than the one from the radio. There's a couple seconds before Calvin's signature synths come in.

04. Heartbreak - Same as single version.

05. Not Giving Up On Love - Same as single version.

06. Can't Fight This Feeling - Same.

07. Starlight - Same as previously heard, only cripser and cleaner sounding. Really lush.

08. Under Your Touch - OKAY. Review starts now! This starts off with some eerie synths, then the beat fades in. There's these really striking synths and "creepy" noises running through the verses. The chorus has some really good bass. The electro/synthesized voice from the album chart show is still there in the "I'm so ready for love. Want to be under your touch" bit. Don't expect anything too different from the performance. Except that the ending has an absolutely BEAUTIFUL strings section! Amazing!

09. Make A Scene - The intro is just some really random synths. Very "wobbly" sounding. Then a very slow beat starts. Sophie comes in, almost speaking in monotone. There are some odd percussive beats in this one. Then once the bridge/chorus kick in, some really awesome saxophone comes in! It's probably a tenor saxophone, from the sounds of it. It's really low sounding, and very groovy. Almost Mark Ronson sounding. This track is quite bonkers, and very experimental. Definitely hear the Metronomy influence. The chorus goes "So come on now, let's make a scene. Queen and king, king and queen. From the chandelier, make a scene." The sax and crazy drums are present throughout the rest of it. This would have made a fantastic album opener, actually.

10. Magic - Starts out with some backup vocalists singing some "ooh ooh ooh ohh ooh's" in really high-pitched, whispery vocals. The beat fades in. This is definitely much more upbeat than the other Richard X track. There is still a beautiful melancholy feel in there, like 'Starlight." There's some pretty "plucking" synths in the first verse. The chorus goes "I need your love to hold me like a Sun. Inside my heart, I still believe in magic. Without your touch, don't know what I'd become. With all my heart, I still believe in magic." There's some nice strings in the chorus. After the first chorus, the song almost sounds even more fierce. The strings in the chorus are actually quite 'Me & My Imagination' sounding! After the second chorus, we get this extremely FIERCE section with some VERY gritty synthesizers, and Sophie asking "Do you believe? Do you believe?" And after that, we get this absolutely beautiful bit with some sighs and coo's from Sophie. Then we're treated to the chorus one more time. There's a big instrumental outro (again, like 'Starlight'). I'd say this is Sophie 'Songs Remind Me Of You.'

11. Dial My Number - Very heavy synths. Again, it's what you'd expect after hearing the live version from the youtube videos. Very dancey. My favorite bit is the bridge leading to the chorus when it says "you don't understand" etc. But yeah, not much more to say since we've heard the live version.

12. Homewrecker - Starts out with some minor sounding organ bits. Then a "plonky" synth and drum beat kicks in. This song is good, but not as good as the rest. Probably my least favorite out of the stuff we haven't heard. There's a lot of songs that Greg Kurstin used in 'Revolution' that make an appearance here too. The bridge uses that funky guitar that is used in 'Revolution's "face to face, it's murder..." bit. The chorus goes "To all the girls round the world, stealing someone else's guy, You're going round breaking hearts, it ain't gonna work this time." In the chorus, it has that Thriller-esque synth. The middle 8 has a bit that genuinely sounds like when Goldfrapp use theremin on live versions of 'Train' and 'Yes Sir!' That part is actually pretty brilliant. It's very cooky and zaney sounding.

13. Synchronized - Starts off with a crackly record noises, then some really beautiful HARP is played. This is an electro-ballad. It's quite midtempo in reality, but definitely slower than the rest. Don't be fooled by the Ina Wroldsen co-write. This isn't a Saturdays castaway. This is a beautiful Sophie slowly at its finest. The harp can be heard throughout the entire sound, accompanied by really warm and lovely synths. The chorus says "And I locked it up baby, I never said I could win you. But I lock it up tightly, I am synchronized with you." All the lovely synths and all other instrumentation drops out for the middle 8, and it's just Sophie singing over the harp. It's a touching song. There is a REAL longing in Sophie's voice. Just wow. We're treated some beautiful ad libs at the end. So dreamy.

14. Cut Straight to the Heart - Starts off with piano and a drum beat that almost sounds like a heartbeat. It's quite sad sounding. The chorus adds in a really cool synth noise that nearly sounds like the signature riff from Pet Shop Boys' 'Domino Dancing.' The chorus has a real longing in it again, and it goes "Don't let me go. Now I'm right where I want to be. Don't let me go. You cut straight to the heart of me." After the first chorus, there's an absolutely beautiful bit that sounds like something you'd hear on Goldfrapp's 'Black Cherry' album. It's very atmospheric while still having quite a good kick. It's midtempo for sure, but not necessarily a ballad. The chorus also has handclaps in it that aren't in the verses. The ending is quite cool, with an eerie, spacey synthesizer. It finishes with a handclap.

The album is fucking AWESOME. Well worth the wait. None of you will be disappointed. It exceeded my expectations, actually. The production is absolutely phenomenal. No, I cannot share the album with anyone. I am sorry. You will all hear it soon enough, and I can assure you that you will all be very happy when you hear it.

Click on the image below to view the album cover in Ultra HQ

Digital Spy reviews Not Giving Up On Love

ORIGINAL ARTICLE: http://www.digitalspy.co.uk/music/singlesreviews/a307749/sophie-ellis-bextor-not-giving-up-on-love.html

It's no secret that Sophie Ellis-Bextor is a lady of leisure, and given that it's almost a year since her previous effort 'Bittersweet' stalled at number 25, one can only assume that the brunches, luncheons and afternoon teas have taken precedence over her music. Thankfully, she's found time in her oh-so-hectic schedule to record a follow-up - and if us Brits take to it as well as our continental neighbours did, then Soph's got nothing to worry about.

Joined by Dutch trance producer Armin van Buuren, E-B pleads: "Hold me now/ Nothing else matters," over a combo of euphoric synths and pulsating beats, resulting in a club thumper more fabulous and heavy than a Big Fat Gypsy wedding dress. "I'm not giving up, I'm not giving up on us," she asserts, making clear that she ain't going anywhere just yet. With that kind of attitude, Soph can consider her tardiness easily forgiven.

RATING:

Orange reviews Not Giving Up On Love

ORIGINAL ARTICLE - http://web.orange.co.uk/p/musicstore/story_sophie_ellis_bextor_not_giving_up_review

Now there's a sight for sore eyes. One of pop's premiere beauties, Sophie Ellis-Bextor is back - and with her finest pop effort since her debut hit, 'Groovejet', way back in 2000.

Still, in the elven years inbetween her Spiller collaboration and new team up with European trance maestro Armin Van Buuren she's hardly been resting on her haute couture laurels, she's chalked up nine solo hits, making her mark slowly but surely on the pop world.

Casting aside the high-camp pop of her last release 'Bittersweet' and 2009 Freemasons collaboration 'Heartbreak (Make Me A Dancer)', 'Not Giving Up On Love' is a sharp, energy packed club anthem. The simple piano opening proving something of a red herring as the song hits epic heights as it hits peak after peak of soaring synths over it's respectable and concise 3 minute run.

However, despite Van Buuren's glorious production skills, it is Sophie who steals the show with her distinctive, warm vocals. Superstardom has always eluded pop's poshest starlet, but her voice has more distinction than countless belting divas, and hearing it put to practice on a song which matches the quality of her voice is long overdue. We don't want to hear another 'I Won't Change You' ever, ever again please.

Already a No.1 hit in Poland (where trance has arguably a bigger following), 'Not Giving Up On Love' has all the hallmarks of a club classic. We've admittedly struggled to write this review because we've been so busy waving our hands in the air listening to the track - and it's difficult to type at the same time as having a little dance. Welcome back Sophie, we just hope we won't have to wait another 11 years for your next amazing pop single.

Unreality Shout reviews "Not Giving Up On Love"

ORIGINAL ARTICLE: http://unrealityshout.com/blogs/single-review-armin-van-buuren-vs-sophie-ellis-bextor-not-giving-love

It certainly is a sad state of affairs when the saying "out with the old, in with new" rings true for someone like Sophie, who, at the height of her fame (2000-2003) narrowly missed out on four BRIT Awards despite being one of the most successful pop peddlers in the UK since Kylie Minogue. However, the Americanisation of our own charts has dictated that we move on from people like Sophie and listen to younger artists with more current music - Ke$ha, GaGa, Rihanna, Katy et al. People seem to have forgotten that, back in the day, Sophie gave us some monster smash hits that still find their way - in original or remix form - into clubs across the whole of Europe, save the UK and Ireland. Over there, she really is like their Cheryl Cole, only with more musical talent... and the ability to sing.

It's also quite a concern that many people seem to place her in some kind of "non-relevant" category, along with a lot of other British female artists like Amy MacDonald, Paloma Faith and so forth who are, in many more ways than just one, much more talented than the likes of Pixie Lott, Cheryl Cole and Ellie Goulding.

Ask around, and people couldn't tell you any of the songs Sophie's released in the last year - 'Heartbreak (Make Me A Dancer)', 'Bittersweet', 'Can't Fight This Feeling' - since she's had her child, she doesn't seem to be included in the media fodder category that milks "popstars" for the very innards of their personal life, hence her musical downfall to irrelevance.

And so we move on to the fourth single from an album that still hasn't been released despite being slated for August of last year. 'Not Giving Up On Love' sees Sophie team up with European trance DJ, Armin van Buuren. It would be unfair to claim this is Sophie's best work - 'Catch You' and 'Bittersweet' spring to mind when that statement arises. But make no mistake - her super-seductive voice still shines with the stunning clarity of white ice and rings with the beauty of a siren call over Armin's glacial synths and towering melodies. There are many catchy moments, and the song is simply destined for the club scene. However, it may not find it's way to the chart despite being quite a strategic release: it's clearly trying to latch onto the tail end of the mini [insert experimental sub-genre(s) here] rage that's grown in popularity and saw many a D&B/dubstep/nu-wave track find it's way into the Top 40.

It may just do it, if it had airplay. And I see no reason why it shouldn't have airplay - Radio 1 probably being exclusive with the playlists again. Those chart fanatics among us will know that 'Not Giving Up On Love' has already peaked at #1 in Poland and charted within the Top 10 of many other countries, so it's not like it's an impossible feat if were it to get airplay.

Here's the video: It has a boat. (video insert) Watta lovely boat.

Sophie Ellis-Bextor is still a mighty force on the continent, and should rightly be recognised where she originally started - the UK. A bit more effort with the promotion, a little more airplay, and 'Not Giving Up On Love' will soar. Unfortunately I feel it may be another underperforming single, leaving Sophie no other alternative than to cancel or rush release her long-awaited comeback album.

Rating: 4.0 STARS

Download: March 6, 2011 (OUT NOW)

Featured Album: 'Make A Scene'

Sophie's Straight To The Heart Tour: Reviews

xondus said:
Great gig from our Sophie tonight at the Academy! She looked stunning and was full of energy - vocals were good and on form throughout. She was drowned out by the backing band a lot though. I'm also not sure how well some of the more synth-y songs worked live - Bittersweet sounded like some random funk track with all that guitar and Not Giving Up fell quite flat for me. Most of the songs would have benefitted tremendously from having another synth player in the band but nevermind. Highlights for me were What Have We Started which was one of the tracks that really came together live, Get Over You, Heartbreak and Revolution - the latter is an absolute tune and I can't wait to hear it in studio form.. If we ever will, sigh. The crowd really got going during Can't Fight This Feeling as well which surprised me a bit seeing as it never really took off over here..
Oh and she failed to mention or even acknowledge the new album in any way... What on earth is the point of this tour if she's not plugging anything? Not even one simple 'here's another new track from my new album, which should be out this spring'... Mneh.


strictmachine79 said:
Sophie rocked again tonight... despite my manflu I made the Brighton and London gigs (just)... same songs, more chat at Brighton (though more to talk about - X Factor final, random balloon hanging around for the whole gig). All the friends I dragged along said the new stuff sounded better than her old stuff, after hearing Revolution live 3 or 4 times I think it's def the next best single option, love Dial my number too, but Starlight is def an album track (still love it though)... I thought Not giving up sounded great, they've beefed it up quite a bit since the pet shop boys tour...


China_Heart said:
Just back from the London gig as well. Sophie was absolutely amazing! I had such a wonderful time and she seemed to really enjoy the atmosphere!
The higlights of the evening for me were:
Today The Sun's On Us: gorgeous and one of my favourite songs from Sophie ever.
Not Giving Up On Love: I think the live version was stunning. The melancholic feeling really came through but at the same time it really made you want to dance!
Can't Fight This Feeling: really went down well with the crowd. I think it should get a proper release, it's bliss to dance to!
Revolution: absolutely breathless. Stunning track, it needs to be the next single.
But of course everything else was great as well. As someone mentioned before, the instruments were TOO LOUD and drowned Sophie's wonderful voice most of the time. That's my only complaint!
I can't believe nobody commented on her remark: "The good news is that I've asked all of your bosses to give you the day off tomorrow... But, actually, being friends of mine, I guess you ARE your own bosses..." Classic Sophie and so much fun! It shows she perfectly understands where she stands and she doesn't take herself too seriously! Loved it!


absintheboy said:
Amazing show! Yes, at times she was a bit drowned out by the band, but she has so much charisma as a performer. Lots of playful, witty banter with the audience and the *dancing* - ok, as we all know, our Sophs isn't the greatest daaarncer, but she carried off the moves she was doing really well.
I was pleasantly surprised about not only how well the "rockier" tracks like What Have We Started and the Rebellion cover went down with the audience, but also how great they sounded live. I've gone from being completely opposed to her ever doing anything but dance pop, to liking the idea of a synthy-rock album. The Lady (Hear Me Tonight)/Groovejet/Sing It Back medley was also a real highlight.
Revolution for the next single please. If we ever get one. I've no more faith that this album will ever see the light of day, but I'm so, so glad I caught her on tour. She's a natural live performer and (sometimes even I need reminding) a brilliant popstar.


misfitmenace said:
wow sophie was soooo good tonight, my highlights were dial my number, heartbreak, just cant fight this feeling, not giving up , today the suns on us and what have we started....... she should some great emotion during the slower songs, i was surprised and really touched.


christopher60 said:
Went to Sophie's concert in Brighton with my Wife last night. FANTASTIC! Superb show, brilliant sound - made up for the cancelled concert a few years ago! Can't wait for the new album and to see Sophie live again!

Nice little write up from The Guardian

The Guardian had a really nice review of Bittersweet. I think it's worth posting here.. Sophie is a popstar who is here to stay, 12 years in music and she's still making really good tunes - that is an achievement!

ORIGINAL ARTICLE: http://www.guardian.co.uk/music/2010/may/01/singles-out-this-week
Sophie Ellis-Bextor should seem rather old-fashioned in these days of Ke$ha sicking up her lunch in Paris Hilton's wardrobe and Gaga strapping 20 B&H on her face, but while faces come and go, tunes like this skyscraping electro disco-pop blockbuster never fall out of vogue. If you can't handle her fantastically nonchalant warbletones you're better off making a cup of tea for the tune's duration; but also think about where your life's headed because the signs, frankly, are not good.

3 stars for Bittersweet from Daily Reviews

ORIGINAL ARTICLE - http://www.daily-reviews.com/sophie-ellis-bextor-bittersweet/

Have you ever taken the time to appreciate what a spectacularly good pop star Sophie Ellis Bextor is? She’s got all the human qualities we tend to admire in real people – can take a joke, doesn’t seem to consider herself a tortured artiste, has a happy marriage – but it’s all wrapped up in a certain…otherness.

That voice is kind of striking, for a kick off: frosty and cold on the outside, but boiling with passion underneath. She’s an anti-arctic roll, throatally speaking. And while there’s no doubt as to her beauty and charm, she also looks a bit like an oil painting which has miraculously come to life. Lovely to look at, but somehow troubling too. These are all plus points, by the way.

And unlike Lady GaGa, who has to really work with the costumes and makeup to create the same effect, Sophie’s otherness is marrow deep. She’s a naturally unnatural pop star.

(Here’s the video. It’s all white.)

All of which means she has the ability to transform a song from plodding dance-pop into startling frosty-wonder with one honking warble. A power she has had to use to its full capabilities on this song, sad to say.

The thing is, it takes a certain amount of nerve to put out a song which shares key characteristics – the climbing-up-the-stairs melody that starts the chorus, that stately tempo, the hazy, whispery backwash of whooshy noises – with Girl’s Aloud’s ‘Untouchable’ (aka the single which failed to live up to the promise of ‘The Promise’).

It’s not that the two songs are so similar you can’t tell them apart, but there’s enough similarity there that a seasoned chartwatcher (hello!) could probably predict what kind of reception one song would get, based on the success of the other. ‘Untouchable’ having been a relative disappointment for the Girls girls, just as they were riding off the back of their best single ever (arguments in the usual place, obv), it seems odd that Sophie would choose to go to a similar place and expect a different result.

She tends to be at her best when tackling something a bit more dramatic than this, something with a personality to match her own, something for the mind to worry at, like a puzzle. Something which is actually both bitter and sweet.

Luckily, as she is such a singular talent, she’s going to get a few more chances yet. Astonishing pop stars always do.

Album Chart Show - Setlist + Reviews

Hold onto your seats.......

Sophie performed 5 tracks there, which included two songs that we hadn't heard in the past.
1. Heartbreak Make Me A Dancer
2. Revolution
3. Under Your Touch
4. Bittersweet
5. Groovejet (If This Ain't Love)

Here are some reviews

Karl Siniak
WOW! This album is going to be stunning! Under... Reminded me a bit if abba's gimme in the intro, and Revolution (which HAS to be the next single) features the line 'Murder on the dancefloor' in the first verse!! Also, if Bittersweet is the bigger louder brother to Heartbreak, then Revolution is the Daddy!

Churno
Just been to see Sophie at Koko and she totally knocked everyone's socks off! She was super, super nice. Totally upbeat after Kate Nash's full performance. She performed two tracks we haven't heard before - Revolution and Under Your Touch.
Revolution was BRILLIANT. Total club song. Really really strong and kind of different to anything she's done before.
Under Your Touch was a little more forgettable, but still in a similar club vein. I can hear the sound of the album from it. There is a real strong club sound to the whole thing.
She also did Heartbreak (opener), Bittersweet and Groovejet. The crowd really enjoyed her, she was interactive and really chatty. Janet and Richard were at the balcony cheering her on.

km-guy
Under Your Touch was quite good, i was so impressed how it is all shaping up to a solid sound for the album. but Revolution the pure standout at this point. Stunning!!! and you could tell that she absolutely loved it and loved performing it.
i was so impressed how she sang so well live. not in the sense that i doubt her ability but they are dance/club bangers and often they do not translate well live. but her band and her were so into it, especially the bassist. it was brilliant. very excited to see her tour this album, let alone hear the whole thing!
my video clip of Under Your Touch is just not good at all, but i got a very low quality clip of Revolution.
youtube is not working for me as i've never uploaded a video before, so i put it on some other site i found. http://tinypic.com/r/vghf2h/5

ethereal
She was amazing tonight. The new songs sound incredible and the crowd seemed really into it. I had the pleasure of talking to her for a while afterwards (ie, me telling her how amazing she is) and she was really lovely and chatty. I don't know if this is already known, but she told me she's going to tour the album in the autumn so that's good.
It (Under Your Touch) wasn't quite as dancey as 'Revolution' and 'Bittersweet'. My memory isn't that great, but it had a good chorus and was slightly more guitar-based. 'Revolution' was my favourite of the two; it definetly sounds like a potential single.

I have to say, i'm a bit worried that she performed Under Your Touch. This could only mean that either one of Magic or Sophia Loren will be cut out from the album. I hope it isn't Sophia Loren. It would be criminal to waste such a good song. And that "Sophia Sophia" intro serves as a great album opener....

tweets, updates, reviews & PopJustice

So... if you thought that 9 minute mix of Bittersweet was every bit as orgasmic as pop heaven, think again. Sophie's official website uploaded a 45 second clip of the song, featuring the chorus of the song. The radio edit has so many layers..so many more instruments and sounds than the remix. This and the 30 second clip on PopJustice are enough to blow your socks off!

If that didn't get you beaming like a foolish cat, this will. Sophie finished her video with Junior Caldera. The video should be out soon. So French readers, do give us a review (and hopefully a high quality recording) of the video. Sophie has also finished the photoshoot session for the album cover. Here are a couple of her recent tweets:

1. back from paris. video with junior caldera done. macaroons eaten. merci, paris.
2. oh and i should let you know yesterday i shot my album cover. v nice photographer who made me shout out very odd stuff as he clicked.
3. and sometimes i flung my head around. sore neck today.
4. all in the name of pop.

Bittersweet which is still sitting on top of the PopJustice almighty has received a lot of positive reactions from fans world over and the press. Digital Spy gave the song a very good review. Mr. PopJustice made bittersweet his song-of-the-day; he also uploaded the chorus of the song 5 times telling us how good the song is (could it be that uploading the snippet 5 times signifies that he rated it with 5 stars?) Anyway PopJustice readers (fans on the official forum and bloggers) are wetting their pants with excitement - this can only mean one thing. Sophie has got a hit on her hands.

Play your cards right Sophie, and you can end up with a #1 which will stay in the top ten for more than 23 weeks this time!

New York Post gave Sophie a good review too -
You remember Sophie Ellis-Bextor? You know! Come on, the 23-week chart-topping brunette beauty behind "Murder on the Dancefloor?" Well the disco-light lovin' diva is back -- and this time, she can really ... shake it down.
Sophie's new single "Bittersweet" premiered last night on UK radio and it blew my man knickers off. It's the first single from her fourth studio album, co-written by the Freemasons (writer/producers responsible for some of Whitney Houston, Beyonce, Shakira and Kelly Rowland's hits) and Hannah Robinson (writer of hit-bangers from Christina Aguilera, The Saturdays and Sugababes). Yeah, you don't even have to press play to know it's already going be amazing.
Sophie tweeted about the song saying it is "about when you can't resist something that you know is bad for you. A guilty pleasure. Like watching celebrity 'Big Brother.'" Hold the hamburger phone miss thang! You like lady pop music, "Big Brother" and you Twitter... is that you in a fancy weave Jarett?
Well if it is, nice moves, the song is brilliant and I have high hopes the whole album will be just as good. Word all over the computer box is that Sophie is also working on new tracks with Calvin Harris, Groove Armada and the Sneaker Pimps. Damn-it, now I'm gonna need to go to the dentist.

Heartbreak Make Me A Dancer - my review

"HEARTBREAK (MAKE ME A DANCER)" has probably been on of the most highly anticipated collaborations of the year. It brought together posh pop Sexy Ellis-Bextor and the new sensation Freemasons, the production team whih previously worked their magic on Kylie's "The One", Kelly Rowlands "Work" and Beyonce's "Green Light", "Ring The Alarm", "Déjà Vu" and "Beautiful Liar". Heartbreak (Make Me A Dancer) seems to be a sum of it all, the best from all their previous work put into one song.

The song comes with a great new video from Chris Sweeny, with an electrifying performance from Sophie. As if looking simply like a goddess was not enough, Sophie has bit of a dance routine which she pulls off with style. If those James Bond movie makers are watching this video, they know who the next "bond girl" is.. The special effects in the video are worth watching over a million times. Its a simple yet effective affair which finds Lady Bextor teasing the camera and throwing sleek, chic shapes. Its the perfect accompaniment to this stomper of a song.

Sophie will be doing a live public appearance at G-A-Y, Heaven in London on the 20th of June. The song is out digitally on the 21st and physically on the 22nd.

Is this going to take Sophie to whole new heights? Is this going to make the Freemasons finally worth all the hype. Is Sophie going to get her second #1 with this? Only you can tell... Make sure you get your copies, cos this time its doubly important - not just for Sophie, but for the Freemasons as well.