The Indefinable Scissor Sisters

The Indefinable <b>Scissor Sisters</b>
From the moment they stepped into the spotlight, New York’s Scissor Sisters have stuck out like a fabulous, glittery sore thumb. Embraced warmly by the UK, where they sold more records than anyone in 2004, it’s on their home continent where the band’s fusion of pop, glam, disco, rock and electro can’t seem to catch on. "I’d rather give people the benefit of the doubt, but maybe it is latent homophobia,” admits Scissor Sisters guitarist Del Marquis.

Slinging nasty accusations isn’t something Marquis enjoys. But for a band so rooted in the pop music that America loves (Elton John, Bee Gees, Pink Floyd, early Madonna), seducing any market should be a piece of cake. "I think as a band, and not just with the music, how we look and who we are defies categorisation. We don’t fit into the categories that exist right now,” says Marquis. "We see ourselves as a pop band, and as long as this music is really accessible and interesting, and the melody is good we don’t see why it’s such an issue.”

Like their debut, the Sisters’ second full-length, Ta-Dah!, doesn’t hold back in blurring boundaries. Again the songs are big on presentation (hero Elton John tickles the ivories on two cuts) and filled with their signature flamboyance, studious ambition and sharpened melodic hooks that were born to grace the radio’s airwaves.

"We think of the ’70s and early ’80s as the golden era of pop — everything from R&B and P-Funk to psychedelic bands and Hall & Oates. Everybody wrote pop tunes and none of them looked alike, yet it all seemed to make sense and work on the radio,” Marquis explains. "Now programming is so specific. I think that we’re a really accessible band, but people don’t know what to do with us over here.”