Interview: Scissor Sisters


American labels showed little interest, so after a short stint in New York’s ill-fated electroclash scene (with artists like Peaches, Tiga and Fischerspooner), the Sisters flew east to the U.K. where they were signed by Polydor. Upon subsequent visits, the crowds they played to doubled in size. They landed an opening spot for Duran Duran, a band whom Hoffman says paved the way for what he does today. “Ana and I were huge fans,” he enthuses, describing their music as “pop that’s subversive and adult when you dig into it.”

They also warmed up for Sir Elton John, whose piano popcraft laid the groundwork for much of the Sisters’ repertoire. Hoffman describes John as a father figure, always willing to offer support. “[He gives us] encouragement more than advice, actually,” he explains. “He gave us some very stern words when we asked for them. It essentially came down to, ‘You’ve got to put the work in to succeed.’ ”

Hoffman goes on: “You look at your idols and tend to think that they never had to put in the time at these tiny clubs and all the traveling and all of that, but Elton” — he pauses for emphasis — “Elton is working as hard today as ever, and has never really stopped.”

Hoffman and Sellards told John they feared their creativity was stagnating because constant touring consumed all songwriting time. “His advice was ‘Don’t stop. It will come.’ ” Hoffman says, adding that John’s seminal double album, “Goodbye Yellow Brick Road,” was written and recorded in only 17 days — while John was touring.

Read the full interview at The Japan Times Online

Sisters gonna work it out | The Japan Times Online

About Jason A Jenkins

Writer, father and informavore, Jason likes working in, around and between Tokyo's creative forces. He is an avid fan of live music, carry-on luggage, people-watching and Taiwanese high-mountain oolong tea.
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