Uffie UffieSex Dreams And Denim Jeans
Timing has worked against the girl who was once called the new goddess of electro pop with flow by a frenzy of social networks some years ago. Since she put out “Pop the Glock” (2006) which, strangely, opens this debut, “Sex Dreams and Denim Jeans”, Uffie hasn’t managed to find the right moment to put out this LP in the last four years, this adopted Parisian having been busy giving birth to her first child and getting married to graffiti artist André Saraiva. So the apple of Ed Banger’s eye hasn’t really been able to find the time to stop by the recording studio, even though we know she likes a good party better than Lindsay Lohan likes an open bar. The biggest problem since she appeared with the backing of Mr.Oizo and FEADZ, her ex, is that the tables have turned radically. Uffie could have taken advantage of the moment when the blogoshere and MySpace were bombarding us with her early songs—such as the infallible “Hot Chick”, which she has done without for this occasion– but if she had been smarter, she probably could have got more exposure for this album even at this late date. In the meantime, even drunken disasters like Ke$ha have stolen her vocal chords. Well, as the saying goes: better late than never, especially if the result is even marginally consistent.
One of the great things about Uffie is her immense ego, and she has no problem at all with showing it to us, in the third person, on tracks like “Art of Uff”, or the well-known “MC’s Can Kiss”, where Mr. Oizo samples Giorgio Moroder’s “Night Drive”. “I’m an entertainer, not a lyricist. If I get popular I know that ain’t fair. I’ve got 9 million plays and 120 friends”: like Aída Nízar or Heidi Pratt, she’s thrilled to have met herself. Among the potpourri of producers and collaborators on the record, the return of Mirwais stands out, as it seems he disappeared from the face of the earth after producing Madonna’s “American Life”. Here he gives Uffie “ADD SUV”, with Pharrell Williams as a guest artist, which is an acid criticism of the superficiality of rappers. At the same time, he achieves the impossible: our star forgets about her attempts to rap (the reason why purists hate her) and sings, as she does on her cover version of Siouxsie and The Banshees’ “Hong Kong Garden”, and on the irresistible “Illusion Of Love”. This last track is one of the best songs on the album, which even Kylie Minogue wouldn’t have turned down if it had been offered to her.
In a logical way, a large part of the success of this LP is due to the eclectic variety of producers spread out over its fourteen cuts, and who show us new aspects of Uffie’s sound that we didn’t know about until now. The song with the same name as the album’s title is credited to Hal Ritson and Richard Adlam. It has a touch of surfer cool, owing to a sample of Velvet Underground’s “Rock & Roll” at the reins. Of course, one of her best night-on-the-town friends, SebastiAn, also appears, on “Difficult” – and here the sample corresponds to “Love of the Hurtin’ Kind” by Claudja Barry. Even when she’s playing the romantic singer, so to speak, on “First Love” and the autotune orgy, “Our Song”, Uffie has managed to whip up a fresh album, full of pearls that won’t disappoint those who have been following her closely since 2006. The wait was worth it. Nevertheless, “Sex Dreams and Denim Jeans” comes too late for Uffie to be the “in” face for the trendy media. She is no longer a pop phenomenon. Now it’s just an album, but we salute her for having crossed the finish line.
Sergio del Amo