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In many cases, that's because Ditto has interpolated snippets of classic hits into her throttling garage-disco tunes. But there are moments on Music For Men that represent some of the most memorably melodic of their career.
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They built their reputation on unforgiving rhythmic relentlessness and Ditto's raw, limber warble instead of on singalong anthems or hooky choruses.
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With a lean three-person lineup and a crack rhythm section, Gossip have never really been driven by their melodies. In fact, it is her florid, soulful voice that gives these crisply percussive tracks their melodic kick. But fret not, Ditto-worshippers the arrangements are meticulous but spare, leaving plenty of sonic space for her vocal pyrotechnics. And on Music For Men these "sidemen" are in rare form with drums so taut they sound almost mechanical and pulsing, staccato basslines that call to mind Stevie Nicks' "Edge of Seventeen" (as on "Heavy Cross") and the "Knight Rider" theme song (as on "Vertical Rhythm"). Ditto may be the "personality" of the band, its loud-mouthed, outrageously attired public face, but the power of its sound is anchored by Hannah Blilie's thundering, precise drumming and Brace Paine's choppy, Chic riffs. They may now have major-label money and famous friends, but their bluesy-voiced dance-punk remains unchanged- a fact that is especially surprising given the waning popularity of that genre over the last four years. The result is a good Gossip album, one that could soundtrack sweaty summer dance parties, but it also isn't drastically different from their last one. It represents Gossip's major-label coming out party, an achievement shepherded by bearded superproducer Rick Rubin. That is supposed to change with Music For Men, her band's first studio album for Columbia. But at home in America, the Oregon-by-way-of-Arkansas singer is still a niche artist. Since the release of 2005's Standing in the Way of Control, Ditto has become a superstar in the UK, hobnobbing with Karl Lagerfeld and Kate Moss and proudly splashing her naked body across the covers of British magazines.
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In a world of manufactured, auto-tuned pop stars and wispy-voiced indie-chanteuse pinups it's nice to see an honest-to-god female rock star who is provocative, strong, and sexy with the muscular vocal chops to match.