Sophie Ellis-Bextor: Make a Scene

Sophie Ellis-Bextor's first album in four years is polished, fun synthpop, but lacks personality.

Make a Scene
EBGB's
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Most artists have a calling card of some kind; usually a certain songwriting style, vocal flourish or lyrical idea that keeps reappearing throughout their work.

For Sophie Ellis-Bextor, it's the pronunciation of a singe word: "dancefloor" (except the reliably well-spoken British pop star pronounces it "daaaarrrncefloor". Ten years after she debuted the plummy delivery on the hit single Murder on the Dancefloor, she utters it again in the opening track of Make a Scene.

But it's not just Ellis-Bextor's voice that appears mysteriously suspended in time: it's her entire being. Strange, because her first album in four years is otherwise bang-up-to-date. As well as the obligatory autotune, it features Gaga-style dynamics and production from a host of top house DJs. Songs such as Bittersweet and Heartbreak (Make Me a Dancer) embrace synth-pop and succeed without offering anything too unexpected.

Not Giving Up on Love and Can't Fight This Feeling seem to have been custom-made for Ibiza nightclubs and, as a result, aren't much fun in the living room. Off & On is the album's high point, with a Daft Punk-style groove, topped-off with sounds that recall vintage arcade machines. The album has a giant sound and an impressive range of influences, but at its centre is a void occupied by the almost personality-free Ellis-Bextor. One almost wishes she'd say "daaaarrrncefloor" a few more times to make us sit up and take more notice of her.