Here we go again: The end of another year in music!

2010 may well be remembered as the Year of the Future (if not the Year of All Hearts–hint hint!): A year of fembots, androids, bionic women and time-traveling adventures deep into the 22nd century.

Space-age love stories and robo-dramatics colored a large portion of the year’s biggest releases in pop, no doubt a response to the reign of the machine on the pop charts as synth-pop productions continued to dominate the digital airwaves in 2010.

Below is the list of MuuMuse’s Top Albums of 2010, which was based on a variety of factors–from individual song and single goodness, to the complete album experience, to overall artistic integrity, to an album’s ability to ‘stick’ as the year progressed. Basically I’m trying to say that it’s a bit of a hot mess, but I tried my very best.

There’s also a rather controversial dishonorable mention prior to the Top 40 list that will likely blow my chances for that much coveted position as editor of Rolling Stone. DAMN IT.

Now…LET’S DO THIS.

BUT FIRST. The (dis)honorable mention:

And now, a brief but important word regarding an album released this year: Heidi Montag‘s Superficial.

First of all, let me clear the air: Heidi Montag has no soul or integrity as a human being. She is a silicone robot, mindlessly pre-programmed with a ceaseless appetite for fame and physical perfection as determined by only the most impossible, superficial societal standards set by beer-guzzling bros with a hankering for dim-witted bimbos with big blonde hair with even bigger boobs. She once remarked that she was deeply disappointed that her plastic surgeon could not increase her breasts to Size H, as she wanted them to be “Size H…for Heidi.”

She may, in fact, be the Antichrist.

That being said, her album is so good. It is so good, in the most purest and truest sense of a “guilty pleasure.” I’m sorry–actually, no. I’m not sorry. It just is. I realize that she is not actually “singing,” nor that her robot voice is even “good,” but these songs are just amazingly trashy and delicious. Much in the way that Paris Hilton‘s debut album is genius, Montag’s effort is genius because she blew a cool $2 million on some of the best songwriters, including Cathy Dennis, The Runners and Steve Morales.

So that my conscious remains clear, I am putting this out in the open: I listened to Heidi Montag’s Superficial about as much as I did the Top 3 albums of 2010. I know I mostly ripped her to pieces in my album review, but even then I admitted it was a “fun” album. Well, it’s still fun. Assess accordingly.

With all that being said, I cannot–in good mind–add her to this Top 40 list. I just can’t. Although I’ve yet to tire of this record, I cannot knowingly sandwich this woman anywhere near the actual Titans of Pop. I refuse to give it a number.

Therefore, I am officially honoring Heidi Montag’s Superficial with MuuMuse’s Official Best Worst Brilliantly Terrible Awfully Amazing Award for 2010.

Unfollow me, degrade me or banish me to Hell, but I SHALL BE SLUT-SHAMED NO LONGER.

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AND NOW…THE LIST.

40. Nadine Coyle – Insatiable (Album Review)
39. Kat Deluna – Inside Out
38. Ciara – Basic Instinct
37. Uffie – Sex Dreams & Denim Jeans
36. Keri Hilson – No Boys Allowed

35. Usher – Versus
34. Girlicious – Rebuilt
33. Linda Sundblad – Manifest (Album Review)
32. Katy Perry – Teenage Dream (Album Review)
31. Miley Cyrus – Can’t Be Tamed

30. Selena Gomez & The Scene – A Year Without Rain
29. The Wanted – The Wanted
28. Joe McElderry – Wide Awake
27. I Blame Coco – The Constant
26. Shontelle – No Gravity (Album Review)

25. Wynter Gordon – The First Dance
24. The Saturdays – Headlines
23. Simon Curtis – 8-Bit Heart
22. Alesha Dixon – The Entertainer
21. Jessica Mauboy – Get ‘Em Girls

20. Goldfrapp – Head First
19. Diddy Dirty Money – Last Train To Paris
18. Diana Vickers – Songs from the Tainted Cherry Tree (Album Review)
17. Jónsi – Go
16. BT – These Hopeful Machines

15. Janelle Monae – The ArchAndroid
14. M.I.A. – /\/\/\Y/\ (Album Review)
13. Marina + The Diamonds – The Family Jewels (Album Review)
12. Sade – Soldier Of Love (Album Review)
11. Christina Aguilera – Bionic (Album Review)

10. Sia – We Are Born

MuuMuse Review

Sia’s fifth studio album found the incredibly talented artist in a much brighter and bubblier place than ever before, dancing atop Greg Kurstin‘s bright, hand clap-happy pop production on irresistibly catchy cuts such as “Clap Your Hands,” “Bring Night,” and the stunning cover of Madonna‘s classic, “Oh Father.”

Yet all’s not quite sunshine and lollipops: The album’s more brooding numbers, including “Cloud” and “I’m In Here,” (which may well be the best ballad she’s done since the iconic “Breathe Me”) proved that Sia’s still grappling with plenty of inner demons brewing beneath the surface.

With We Are Born, as well as the multiple tracks penned with Christina Aguilera, Sia proved herself responsible for some of the year’s best crafted songs.

9. Rihanna – LOUD

MuuMuse Review

Stepping away from the darker imagery of her career-defining 2009 masterpiece Rated R, Princess RiRi eased her way back onto the pop radio charts in the latter half of 2010 with her gigantic club smash (“Only Girl (In The World)”) and a freshly revitalized, breezy new spirit.

LOUD is a concise collection of unapologetic, celebratory pop tunes inspired by the Barbadian beauty’s island roots, including “Cheers (Drink To That),” “Raining Men (feat. Nicki Minaj)” and the album’s impossibly infectious second single, “What’s My Name?,” featuring Drake.

While it’s mostly all fun and games here, it’s the album’s slower moments, such as “California King Bed” and “Love The Way You Lie (Part II),” the stunningly vulnerable response to her summer smash collaboration with Eminem, that provide enough versatility to hail LOUD as one of the year’s best offerings.

8. Scissor Sisters – Night Work

MuuMuse Review

Night Work quickly became the essential soundtrack to a summer’s night out after it’s release in late June of 2010, as frontman Jake Shears, Ana Matronic, Del Marquis and Babydaddy grunt-and-strutted their way through a powerhouse set of sweat-soaked disco gems seemingly unearthed from the filth-ridden dance floors of Studio 54.

While cuts like the falsetto-heavy heaven of “Any Which Way” and the scandalous purr of “Skin This Cat” gave Night Work plenty of sizzle, it’s truly the album’s final 6-minute opus, “Invisible Light” (featuring an almighty monologue by Sir Ian McKellen) which catapulted the band to a whole new dimension of brilliance.

7. Ke$ha – Animal / Cannibal

MuuMuse Review / MuuMuse Review

It’s hard to believe that Ke$ha only officially debuted this year.

Kicking off 2010 with the release of her debut album Animal on January 1, the filthy princess greeted the New Year with a somewhat uneven collection of drunk-pop party anthems (“Tik Tok”), vomit-drenched club stormers (“Take It Off”) and unexpectedly sobering ballads (“Hungover”). The rest is chart history, as each month K$ continued her reign on top of the Billboard Hot 100 with single after single.

As the year drew to a close, Ke$ha wisely took a hint from Lady Gaga‘s winning Fame Monster 2009 re-release formula and complimented her debut with Cannibal, a near flawless 8-track EP filled with darker, harder pop cuts. From prowling for boy blood on the storming title track “Cannibal” to getting all out rude on top of the grinding, Bangaladesh-produced “Sleazy,” K$ offered up a glitter-drenched middle finger to any and all naysayers standing in the way of her trash-pop reign.

Love her, hate her, or if you just kind of want to vomit on her face–it’s impossible to dispute the fact that K$ knows how to write a hit. Just wait until she starts singing for real…she hasn’t even begun yet.

6. Hurts – Happiness

Brooding in black and white, the men of Hurts delighted us all in 2010 with their keen sense of sharp style and sophistication (and irony, as their album title would dictate.)

Happiness is an incredibly rewarding dark pop experience and an incredible debut effort, rich with heartbreaking lyricism and big, moody synth-pop tunes that often recall the best of Depeche Mode and New Order. The album is largely dominated by deathly serious numbers and gorgeous, hymn-like devotionals including “Illuminated” and “Stay.” Best of all is the aching “Devotion (feat. Kylie Minogue),” which wonderfully recalls one of the greatest songs of the disco diva’s career, “Confide In Me.”

Moody, sophisticated…it’s the complete package. What more could a boy ever ask for?

5. Kanye West – My Beautiful Dark Twisted Fantasy

Like Rihanna’s Rated R from last year, My Beautiful Dark Twisted Fantasy found hip-hop’s leading innovator in a very, very dark place.

Along with self-aggrandizing brag attacks including “POWER” and the stomping growl of “Monster” (which arguably features the greatest verse of Nicki Minaj’s career), the album shines brightest when West turns inward, as demonstrated in the tender defeat of “Blame Game (feat. John Legend)” and the disillusioned world-weariness of “Lost In The World (feat. Bon Iver).” Best of all though is the album’s star-studded collaboration featuring eleven vocalists (!) “All of the Lights,” a perfect rallying call that comes roaring into the airwaves, horns blaring.

With some of the most gorgeous melodies and unique samples (Gil Scott-Heron‘s “Comment No. 1,” for instance), as well as a lengthy list of both heavyweight collaborators (Jay-Z, Kid Cudi) and surprise contributors (Elton John? Chris Rock?), the world’s biggest ego has truly crafted one of the most intriguing, controversial and powerful releases of his career.

He may be a douchebag, but Kanye West’s album is about as close to perfection as they come.

4. Ellie Goulding – Lights/Bright Lights

MuuMuse Review

As the hotly tipped, much hyped artist at the top of the BBC’s Sound of 2010 list last year, Ellie Goulding had a lot to prove in 2010. Luckily, she did–and then some.

After forging a friendship with up-and-coming electro-pop producer Starsmith, the electro-pop chanteuse carved out a truly knock-out debut in Lights, an effort that perfectly marries the singer’s fragile vocals with bright, bubbling electronica and hazy synth-pop. Along with lead single “Under The Sheets” and the truly magical “Starry Eyed” (which rightfully earned her a spot at the top of the BBC’s list last year), more introspective numbers such as “This Love (Will Be Your Downfall),” “Your Biggest Mistake” and the utterly chilling “Wish I Stayed” demonstrated Goulding’s supreme penchant for songcraft.

Later in the year, Bright Lights was released–the re-release of Lights. Along with fan favorite “Lights” (produced by Richard Stannard‘s genius pop writing troupe, Biffco), the re-release boasted six additional tracks that sparkled with brand new instrumentation and more complex construction, including the Fred Falke-produced “Home” and Goulding’s stunning take on Elton John‘s classic, “Your Song.”

Packaged together, Lights and Bright Lights burn bright as one sublime, ethereal pop experience.

3. Kylie Minogue – Aphrodite

MuuMuse Review

With 21st century pop mastermind Stuart Price at the helm of the project, Kylie Minogue has divined the perfect pop record within Aphrodite, her most cohesive effort since 2002′s Fever.

Along with lush, electro-pop club anthems (“All The Lovers”), surging trance cuts straight out of the Stuart Price playbook (“Closer,” “Cupid Boy”) and gorgeously cooed, angelic waves of electronica (“Everything Is Beautiful”), Miss Minogue’s invoked a whole new brand of sass on this record, including the stomping, gritty ‘tude of title track, “Aphrodite” and the year’s greatest kiss-off track, “Get Outta My Way.”

Along with signature celebratory anthems, including the Starsmith-produced “Put Your Hands Up (If You Feel Love)” and the sparkling album closer “Can’t Beat The Feeling,” Aphrodite continues to inspire an electric euphoria that can only be described as heaven-sent.

2. Kelis – Flesh Tone

MuuMuse Review

Never one to shy away from reinvention, the ever-innovative Kelis came roaring back after an extended hiatus with Flesh Tone, a truly astounding body of work.

Essentially the equivalent of Madonna’s Confessions On A Dance Floor for the new decade, Flesh Tone found Kelis taking a step off the streets from 2006′s Kelis Was Here and into the discotheque with the help of such 2010 dance production legends as Benny Benassi and David Guetta, as well as executive producer/Black Eyed Peas mastermind, Jean-Baptiste.

Aside from its flawless production value, Flesh Tone‘s quality lies in its transcendence of typical dance floor lyrical cliches, utilizing deeply personal memoirs (“Song For The Baby”), existential ponderings (“22nd Century”) and a healthy helping of rallying empowerment cries including “Scream,” “Emancipate,” and the defining life anthem “Brave” to create one of the strongest, most cohesive collections of the year.

1. Robyn – Body Talk

MuuMuse Review (Part 1)

After almost a five year wait since her last studio album, her 2005 Swedish self-titled masterpiece, Robyn completed her triumphant return to the global pop forefront in 2010 with Body Talk, the year’s most forward-thinking, relentlessly hard-hitting collection of heartbreak disco-pop gems, bossy hip-hop taunts and super slick futuristic interludes beamed in straight from 20 years into the future.

To be fair, it’s hard to spotlight Body Talk in its own right: Robyn actually released three mini-albums over the course of a year–Body Talk Pt. 1, Pt. 2, and Pt. 3–with Body Talk being a culmination of all three released in November. As it stands, Body Talk is a mostly perfect ‘greatest hits’ representation of all three releases, with only a few missed opportunities (the most glaring of which being the exclusion of Body Talk Pt. 2 sassy sleaze track, “Criminal Intent.”)

In some cases, Robyn flexes her bossy ‘tude, bragging ’round town on tracks like the reggae-infused, Diplo-produced “Dancehall Queen,” “U Should Know Better (feat. Snoop Dogg),” and the brooding, braggy “None of Dem (feat. Röyksopp).” Elsewhere, she exposes doubts, fears and frustrations in cautionary tales including the throbbing cautionary tale “Love Kills,” “Get Myself Together,” and the Max Martin-produced “Time Machine” (her first collaboration with the pop production titan in over a decade), all the while providing some of the most danceable rhythms and relatable lyrics of the year.

Yet if anything remains true of Robyn as an artist, it is her ability to make music that resonates on a profoundly emotional level. Devoid of pretentious higher meaning or lyrical cliches, Robyn simply emotes, and the results are nothing less than completely relatable.

The album’s true highlights come in the form of three major singles, all of which acted as lead tracks for each Body Talk installment: From the chilly, rapid-fire devastation of “Dancing On My Own,” to the sugary sweet “Hang With Me,” to the all-or-nothing, head-over-heels recklessness of “Indestructible,” the Swedish chanteuse’s finest offerings mesh heartfelt love notes with pulsating, space-age rhythms, resulting in the greatest sad disco numbers since her 2007 global smash with Kleerup, “With Every Heartbeat.” When all’s said and done, each song is enough to render any unsuspecting listener into a quivering mess of glitter and goo at the discotheque.

While Robyn would never see the sales, radio or chart success that most of the aforementioned artists enjoyed throughout the year (the year’s greatest pop injustice for sure), it’s her ceaseless ability to deliver innovative, forward-thinking pop that ultimately places Robyn’s Body Talk series as the clear front-runner amongst the albums of 2010.

Quite simply, Body Talk is the embodiment of pop in its purest form.

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AND THERE YOU HAVE IT.

Now for some real fun.

Because I’m such a physical freak (in so, so many senses of the word), I now present a RATHER EXCITING CONTEST:

MuuMuse is proud to be giving away ONE BUNDLE of ALL TEN of MuuMuse’s Top 10 Albums of 2010!

To enter to win, send me an e-mail with the subject line “MUU10″ telling me your TOP 10 SINGLES OF 2010.

This contest IS global. Rejoice, Muusers all over the world!

A winner will be selected and notified on January 2, 2011. Good luck!

Wait, isn’t that Adam Lambert and Amanda Lepore?

Fair warning: My experience at the Scissor Sisters concert involved a great deal of celebrity ogling, thanks to a very kind VIP pass courtesy of the band. Shameless name-dropping and self-absorbed ramblings begin…NOW.

As we made our way into Terminal 5 on Wednesday night, my friends and I quickly hustled through the crowd and took our spot to the right of the stage, dancing like fools to the very good remixes being played by DJ Sammy Jo (There was Kylie playing!) and getting pumped up Jersey Shore style.

Though my good friend (and loyal Muuser) Parker and I had received VIP passes for access to the balcony above, we ultimately decided that it would be more fun to simply dance with our other friends at the show within the general admission crowd. Well, at the time anyway.

“Wait, isn’t that Adam Lambert and Amanda Lepore?” someone in our group asked, pointing up toward the aforementioned balcony. With a quick glance, it was confirmed: That was indeed Adam Lambert, guy-liner and all. And as for Lepore? Well, she has a way of sticking out like a sore, swollen thumb.

“Yeah okay, maybe we should go up there,” I decided.

And so, Parker and I shoved our way out of the pack, rushing to every corner of the venue desperately trying to find our way up the stairs. We eventually did (it’s in the back by the bar!), climbed our way up and, with a flash of the VIP bracelet (~glamourous~), we were up there too.

Instantly, the mood changed. It was more calm surely, but there was a strange buzz in the air. Like everyone just knew there were a gaggle of celebrities and socialites standing about. The faces started to look familiar: Club kids and scenesters swarmed about, including boys wearing glittery shoes and coat jackets with pom-poms glued to the collars. There was also a long-haired man wearing white who I’m vaguely confident was Jesus Christ himself.

Nonetheless, we elbowed our way closer until we finally reached Mr. Glambert. For a pop star, he was looking fairly understated, wearing a simple gray tee and black gloves. When we reached him, he was just sort of standing there waiting around behind his more extravagant looking entourage.

Okay, so look: I didn’t want to be perceived as an obnoxious fan boy standing around waiting for a photo at a concert. Believe me: I was there for the Scissor Sisters first and foremost. But how in the fuck was I going to prove that I was standing in the VIP balcony with Adam Lambert? I needed a photo.

Taking a deep breath, I tapped him on the shoulder (it felt like glitter, for the record), and said “I’m sorry. Can I have a picture?” He shrugged and said sure, turned around, and allowed Parker to snap the above shot. As you can see, there was a sad case of the blurs upon review, but I just couldn’t work up the courage to tap him again. Besides, he was already giggling along with his friends anyway. NONETHELESS MISSION ACCOMPLISHED.

Slowly but surely, the balcony grew more jam-packed. More glitterati filled the narrow aisle, and we started getting pushed back into the wall. “Maybe we should go back down,” I started to say.

“Look at that table,” said Parker, pointing in front of us. I read the place-holder resting on top: ‘Reserved for Katy Perry.’ And, at the table directly to the left: ‘Reserved for Drew Barrymore.’

“Yeah okay, so maybe we should stay,” I decided.

About five minutes later, a small troupe wormed their way through the velvet rope. It was Miss Purry herself, looking gorgeous in a leopard mini-dress. I immediately noticed her hair, which looked extra fabulous. I guess it’s either new or I just didn’t notice when I saw her perform on Live On Letterman, but she now has luscious strands of blue and red scattered within (I guess she’s really loving up that candy-coated theme lately).

So there I was, sandwiched behind Katy Perry, Adam Lambert, Susan Sarandon, Amanda Lepore, and Drew Barrymore, leaving me no choice but to do what has always come naturally: I stood there awkwardly. I mean, what else does one even do in these situations? I had no idea.

As the lights dimmed, the crowd downstairs began to roar and the Scissors took to the stage. Even in the VIP section, the buzzing bodies took to their respective places and began looking on eagerly. Sadly, we quickly discovered that if we weren’t standing directly against the banister among the celebrities (which we were not), we weren’t going to see much happening on stage–especially standing at 5′ 4″. And so, we decided to rush back into the crowd downstairs.

For a good story’s sake however, I am heretofore claiming that it was solely because I couldn’t see past Katy Perry’s head. It’s basically the truth!

As we rushed back down the stairs, the grinding sounds of “Night Work” kicked into the speakers. Parker and I quickly squeezed back into the main audience during the second verse of the song. Although we couldn’t get as deep into the crowd as where we stood prior to what I shall refer to as ‘the balcony situation,’ we still had a pretty good view of the stage (and Del Marquis’ crotch–I DIGRESS).

Throughout the night, the Sisters would bang out a bulk of their incredible album released in July, Night Work including “Fire With Fire,” “Any Which Way,” “Something Like This” and “Skin This Cat,” as well as favorites from their past records, including “I Don’t Feel Like Dancin’,” (which got the entire venue moving) “Tits On The Radio” (which got the entire venue vamping), and “Take Your Mama” (which had the entire venue crooning at the top of their lungs).

Every member of the troupe supplied their own flare of personality to the stage: From Babydaddy‘s cool swagger, to Jake Shears‘ unstoppable sexy, to Ana Matronic‘s endless attitude and vamp, to Del Marquis‘ stoic, cocky strumming. Admittedly, I did end up swooning a bit hard for Mr. Marquis and his tight black leather pants as the show went on. Again, I digress.

There were also a few delicious introductions before songs, as with “Skin Tight.” While taking a quick breather before launching into performance, Shears explained that the song was dedicated to his boyfriend who–after eleven or twelve weeks of touring–finally fucked him the night before. A sweeping “Aww…” came across the crowd, along with whistles, cheers and cat calls. A precious moment, no doubt.

“Skin This Cat” was a personal favorite, as Mizz Matronic came strutting out with the band’s sexified, lace-and-leather back-up singers and purred the song’s gloriously sexy lyrics along with some rather frisky choreography. Meeeow. (Hint: IT’S ABOUT HER VAG.) Loved it!

For the group’s final number (at least, before the encore), Ana came center stage and told us about the inspiration for the track (“Night Life”), which came from her first club experience as a 15-year-old in Portland, Oregon. She never wanted that feeling to end, she cooed to the audience, so she vowed never to stop living like that to this very day. Now that’s the spirit of a proper disco diva, my friends.

After a quick dash off-stage for a quick change after the song, the troupe soon returned for an encore, beginning with “Comfortably Numb,” with Jake now wearing an American flag-inspired jacket (it didnt last long–the man just doesn’t take well to clothing) and Ana in a gorgeous, geometric green dress.

Then came “Invisible Light,” the song I had been patiently waiting for the entire night. I can now officially confirm that the six minute opus is, in fact, as utterly EPIC live as it is on a record. By the time that swelling, cascading break in the song came in around the five minute mark, the entire room erupted into a manic, frenzied hands-in-the-air euphoria. The moment was absolutely perfect, and no doubt the night’s shining highlight for me.

After a quick announcement of their after-party location, the band took on their final song of the night: “Filty/Gorgeous.” By the time the song was wrapping up, pure pandemonium began to ensue on stage: Jake Shears took a quick dive into the crowd, at this point wearing an ass-less latex one piece (I can only imagine the unholiness he’s experienced while being passed around in that outfit). Miss Matronic doused him in water and ripped off the top of her dress to reveal a black bra underneath. Mic stands went flying, and confetti and fake cash baring the Night Work album cover and the motto “Make Some Cash – Fuck The Rich” burst high into the air, showering the crowd. It was utter insanity in the most fierce, most glamorous rock ‘n’ roll sort of way.

“We are the Scissor Sisters, and so are YOU!” Ana shouted out as the audience roared for the final time.

The Sisters delivered an immense, electrifying performance for their adoring fans in New York City. It was an endlessly fun experience–not to mention an impressive display of the band’s talent and professionalism.

Honestly, I wasn’t even that close to the stage for the show, and I still had such a blast. The band is just so much fun! An amazing experience, without a doubt.

Now if you’ll excuse me, I need to take a call: My new BFFs Kitty Purry and Glambert are tots blowing up my phone right now.

Many thanks to Parker F. for the photos (and upcoming videos).

On June 28, following a four year hiatus, the Scissor Sisters unveiled their third studio effort, Night Work.

Darker and more cohesive than either of the Scissors’ past two efforts, Night Work is a masterfully executed, sleekly polished glimpse into the excess and depravity of 1970′s disco nightlife–all without ever hazarding the treacherous territory of homage.

Produced by Stuart Price, Night Work also doubles as the perfect disco-laden compliment to the summer’s best album: Kylie Minogue‘s Aphrodite (which just happens to be produced by Mr. Price as well–I bet someone’s having a good summer!)

The album largely revels in a barrage of dirty bass lines and guitar riffs from Babydaddy and Del Marquis, glitchy synthesizers and front-man Jake Shears‘ pitch-perfect falsetto, which provides the vocal backing behind the album’s massive glam-rock anthems (“Fire With Fire”) and dark disco haunts (“Night Work”).

Though the album dives into darker territory, there’s plenty of the Scissor Sisters’ signature camp style buried within the record.

Take for instance “Any Which Way,” a glee-filled romp that finds Ana Matronic playing the sex-starved temptress mid-way through and cooing about finding a man that smells like “cocoa butter and cash.” “Take me anyway you like it / In front of the fireplace, in front of your yacht, in front of my parents / I don’t give a damn, baby–just take me!” she shrieks. It’s silly, it’s naughty, and above all, it’s irresistible.

Don’t believe me? Just try to watch their Glastonbury performance of the track (with a special cameo by a certain pop princess). I defy you not to crack a smile.

Songs like the slinky “Skin This Cat” operate as further evidence that the Sisters have evolved their sound. The melodies here are vastly sexier than previous efforts, even if the lyrics provide enough of a knowing wink wink, nudge nudge to keep you giggling: “You’re not the first tom to walk my floor / So get around the block a few times more / And keep scratch scratchin’ at my back door / And I will show you.”

Further on, several cuts show off Shears’ darker side, including the stomping “Harder You Get” and “Sex & Violence,” which burns with an icy intensity and deranged flares of old school synthesizers: “Oh, I need a witness, to see the mess I’ve made,” Shears devilishly purrs. “Where do you live? What do you give? Who are you with? And how you getting home?” Glam, sex, and murderous intent…a personal favorite, for sure.

But perhaps no track best embodies the album’s true essence than with its final moment: “Invisible Light,” an immense, wildly celebratory six-minute opus of dark disco euphoria.

By the time Ian McKellan delivers his spot-on spoken word about “sexual gladiators” and “fiercely old party children,” the track is already bursting at the seams, at last unleashing wave upon wave of sublime coos and pulsating, tribal beats that come together in one gorgeous moment of frantic bliss.

If there’s any word to describe the Sisters’ latest output, it’s evocative: Of Grace Jones, of bell bottoms and gold chains, of the sweat and grime and filth of a dirty New York City disco.

And that’s what I call a proper night out.

To celebrate the album’s release, MuuMuse is proud to be giving away SIX COPIES of Night Work. send me an e-mail with the subject line “NIGHTWORK” or tweet me with the following phrase: “I found a whole new way to love @MuuMuse! #NightWork”

Six winners will be randomly selected and notified on Tuesday, July 27. Good luck!

To preview and purchase Night Work, click here.

For the Scissor Sisters guitarist, Del Marquis, the mainstream music industry can be a little, well…limiting.

In the interim between Scissors albums (they’re preparing their latest now!), the artist chose to go his own way and explore an independent solo project for himself, collaborating with several different producers and artists (including Joan as Police Woman and Basement Jaxx) along the way.

After completing a handful of releases over the course of a year and a half, Del Marquis is now rolling out the final thrust of his indie turn with the Runaround EP–a maxi-single complete with eight new tracks and remixes.

“Runaround,” the main single off of the EP, is both a funky, stomping explosion of sound and a passing wink to the leading gentlemen of the New Wave movement–all without ever sounding inauthentic.

Other album tracks include “Lies By the Bed,” a jaunty, sauntering tune, and my personal favorite, “Each Time I Reach the Sun,” a six minute triumph that pits Marquis’ dark, echoey vocals against melancholy guitar chords and a crashing drum beat, at times recalling the greatest melodies from Depeche Mode. “As strange as it ever was, each time I reach the sun,” Marquis distantly coos along the devastatingly addictive chorus, only demanding to be put on repeat time and time again.

As a whole, The Runaround EP is vibrant, fun, and–dare I say–”hip,” proving that a good grove is forever timeless.

Click below to stream “Runaround” in full.

DL: Runaround (Louis La Roche ‘In 1995’ Remix)

The Runaround EP will be released on September 22.

Purchase more from Del Marquis on iTunes | MySpace | Official Website