Goldfrapp | ||
| Allmusic Biography : As Goldfrapp, singer/composer/keyboardist Alison Goldfrapp and composer Will Gregory craft stylish electronic pop thats as wide-ranging as it is distinctive. Though their most danceable work was often their most successful -- 2005s Supernature and 2010s Head First both debuted in the top 10 in the UK and earned Grammy nominations in the US -- quieter albums like 2000s Felt Mountain and 2013s Tales of Us were just as powerful in their own right. Alisons quicksilver vocals, which could change from angelic to sultry and back again in an instant, and Gregorys lavish arrangements were Goldfrapps only constants as they transformed influences including folk, cabaret, classical, disco, techno, 80s pop and glam rock into an adventurous body of work. Born in Bath, England, Alison Goldfrapp first performed with Dance Company Catherine Massin and later incorporated music as part of her studies as a fine art painting major at Middlesex University, where she mixed sound, visuals, and performances in her installation pieces. While she was still in college, she appeared on her friend Trickys 1995 debut, Maxinquaye, which led to appearances on albums by other cutting-edge electronic artists, including Orbitals Snivilisation and Add N to (X)s Avant Hard. By the late 90s, Goldfrapp began writing her own songs. One of her friends passed some of her demos on to composer Will Gregory; finding much in common in their musical tastes and approaches, the duo took Alisons surname as the name for their collaboration. After signing to Mute in 1999, Goldfrapp sequestered themselves in a countryside bungalow to make their debut album. When Felt Mountain arrived in 2000, it reflected the trip-hop boom of its time, but also reflected more unexpected influences such as folk and cabaret. The album was shortlisted for the 2001 Mercury Prize, and that years synth-pop heavy Utopia Genetically Enriched EP suggested Goldfrapps sound was already evolving. Due to the demanding nature of the Felt Mountain tour, which called for as many as 40 supporting musicians, the duo pared back on its next album. Recorded in a studio in Bath, 2003s Black Cherry grew out of extensive jam sessions as well as Gregory and Alisons fondness for disco, glam-rock and techno. The albums sexier approach was exemplified by the single "Strict Machine," a top 20 hit in the UK that earned Goldfrapp an Ivor Novello Award for Best Dance Single in 2004. Capitalizing on Black Cherrys success -- the album went platinum in the UK and reached number four on Billboards Top Electronic Albums chart in the US -- the duo doubled down on its dance leanings with 2005s Supernature. A set of sardonic and romantic songs set to steady beats, Goldfrapps third album was a breakthrough that went platinum in the UK, sold over a million copies worldwide and earned a Grammy nomination for Best Electronic/Dance Album in 2007 (the albums glammy single "Ooh La La" snagged a Grammy nomination for Best Dance Recording). The duo followed it with the 2006 remix compilation We Are Glitter, which included the Flaming Lips reworking of the track "Satin Chic." Goldfrapp moved in a very different direction with 2008s The Seventh Tree. Inspired by paganism and an acoustic radio performance, the duos fourth album traded the dancefloor for soothing ambient and folk-tinged songs such as the UK top 10 hit "A&E.;" In 2009, the group released its score to Sam Taylor-Woods film about John Lennon as a youth, Nowhere Boy, which they recorded with a full orchestra at Abbey Road Studios. Gregory and Alison changed gears again on their fifth full-length, and borrowed the exuberance of 80s pop for 2010s Head First. Touching on the joyous sounds of the Pointer Sisters, Van Halen and Olivia Newton-John, the album debuted at number six in the UK and earned a Grammy Nomination for Best Electronic/Dance Album in 2011; the single "Rocket" received a nomination for Best Dance Recording. In 2012, Goldfrapp issued the Singles collection, which featured the previously unreleased songs "Yellow Halo" and "Melancholy Sky." For 2013s Tales of Us, Goldfrapp revisited the moody introspection of Felt Mountain and The Seventh Tree, and took inspiration from classic authors and auteurs such as Patricia Highsmith, David Lynch, Ingmar Bergman, and Michelangelo Antonioni. The album also included short films for five of its songs directed by Alisons partner, filmmaker Lisa Gunning. After scoring a Royal National Theatre production of Medea, Goldfrapp returned to the studio in 2015, joined by co-producers John Congleton and the Haxan Cloak as well as guitarist Leo Abrahams. The results were 2017s Silver Eye, which balanced the duos danceable and reflective sides. A year later, a deluxe version of the album featuring a duet with Depeche Modes Dave Gahan arrived. | ||
 | Album: 1 of 13 Title: Felt Mountain Released: 2000-09-11 Tracks: 9 Duration: 39:33 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Lovely Head (03:47) 2 Paper Bag (04:05) 3 Human (04:36) 4 Pilots (04:29) 5 Deer Stop (04:06) 6 Felt Mountain (04:17) 7 Oompa Radar (04:42) 8 Utopia (04:18) 9 Horse Tears (05:10) |
| Felt Mountain : Allmusic album Review : Though her collaborations with Tricky, Orbital, and Add N To X focused on the sheer beauty and power of her singing, on her debut album Felt Mountain Allison Goldfrapp also explores more straightforward styles. Together with composer/multi-instrumentalist Will Gregory, Goldfrapp wraps her unearthly voice around songs that borrow from 60s pop, cabaret, folk, and electronica without sounding derivative or unfocused. From the sci-fi/spy film hybrids "Human" and "Lovely Head" to the title tracks icy purity, the duo strikes a wide variety of poses, giving Felt Mountain a stylized, theatrical feel that never veers into campiness. Though longtime fans of Goldfrapps voice may wish for more the exuberant, intoxicating side of her sound, lovelorn ballads like "Pilots," "Deer Stop," and "Horses Tears" prove that she is equally able at carrying -- and writing -- more traditional tunes. A strange and beautiful mix of the romantic, eerie, and world-weary, Felt Mountain is one of 2000s most impressive debuts. | ||
 | Album: 2 of 13 Title: Utopia (Genetically Enriched) Released: 2001-06-11 Tracks: 3 Duration: 19:44 Scroll: Up Down Top Bottom 25% 50% 75% Wikipedia Allmusic AlbumCover | 1 Utopia (Jori Hulkkonen remix) (06:17) 2 Utopia (Tom Middleton Cosmos Vocal) (08:17) 3 Utopia (Tim Wright remix) (05:09) |
 | Album: 3 of 13 Title: Black Cherry Released: 2003-04-23 Tracks: 17 Duration: 1:22:19 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Crystalline Green (04:28) 2 Train (04:11) 3 Black Cherry (04:56) 4 Tiptoe (05:10) 5 Deep Honey (04:01) 6 Hairy Trees (04:37) 7 Twist (03:32) 8 Strict Machine (03:51) 9 Forever (04:14) 10 Slippage (03:55) 1 Strict Machine (Benny Benassi Sfaction edit) (03:28) 2 Train (Ewan Pearson dub) (07:43) 3 Deep Honey (live in London) (04:43) 4 Hairy Trees (live in London) (06:47) 5 Yes Sir (03:58) 6 El Train (T.Raumschmiere remix) (05:50) 7 Strict Machine (Benny Benassi Sfaction extended mix) (06:51) |
| Black Cherry : Allmusic album Review : In an admirably daring move, Goldfrapps second album, Black Cherry, takes the duo in a very different direction than its instant-classic debut, Felt Mountain. Instead of just serving up more lush electronic torch songs -- which certainly wouldve been welcome -- Allison Goldfrapp and Will Gregory continue in the direction that their cover of Olivia Newton-Johns "Physical" suggested, adding digital-sounding synths, electroclash-inspired drum machines, and more overtly sexual lyrics to their music. While their artistic risk-taking is commendable, unfortunately the same cant always be said for the results: Black Cherry sounds unbalanced, swinging between delicate, deceptively icy ballads and heavier, dance-inspired numbers without finding much of a happy medium between them. Its true that Felt Mountains cinematic sweep owes a debt to the likes of Portishead, Björk, John Barry, and Shirley Bassey, but its mix of old-school glamour and more modern arrangements -- not to mention Allison Goldfrapps charms as a futuristic siren, at once sensual and aloof -- were so compelling that the album felt fresh despite its roots. Black Cherry, however, is so dominated by its influences that all too often there doesnt seem to be enough room left in the music for Goldfrapp to really make the music its own. To be fair, most of the album isnt bad -- its just not as consistently amazing as Felt Mountain. Songs like "Crystalline Green," "Tiptoe," and "Train" are among the better synth pop-inspired tracks, keeping enough of Goldfrapps previous sound to give a good balance of familiarity and invention, but they dont really show off the expressive range of Goldfrapps voice that well. Not surprisingly, Black Cherrys highlights apply Felt Mountains eloquent restraint to a slightly different sonic palette: The title track has a spacy allure thanks to the flute-like synths and lighter-than-air drums and strings, while "Deep Honey" mixes harpsichords, strings, and foreboding analog synths to ominously beautiful effect. "Hairy Trees" conjures a digitally pristine utopia (though it does include the rather embarrassing lyric "touch my garden") and "Forever" is one of the few tracks that really allows the pure tonal beauty of Goldfrapps singing to shine through. Problems crop up on Black Cherry when the group works too hard to change its trademark sound: Despite its very danceable groove, "Twist" overplays its hand by adding too many buzzing synths and operatically orgasmic vocals (though, admittedly, they do show off Goldfrapps impressive pipes better than some of the other songs). "Strict Machine" and "Slippage" share a similar fate, piling on dominatrix-y drum machines to give the songs a dance edge but eventually sound weighed down by them in the process. Its possible that Black Cherry disappoints because it tries to go in two different directions at once; it might have been a more coherent listening experience if it were either more ballad-based or featured more synth pop homages. As it stands, its merely a not entirely successful experiment that suffers from its ambitions and in comparison to its brilliant predecessor. While some Felt Mountain fans may not have the patience for this albums radical departures, Black Cherry is still worthwhile for those willing to take some risks along with the group. | ||
 | Album: 4 of 13 Title: Wonderful Electric: Live in London Released: 2004-10-11 Tracks: 4 Duration: 00:00 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Train (Live from Somerset House) (?) 2 Strict Machine (Live from Somerset House) (?) 3 Tiptoe (Live from Somerset House) (?) 4 Lovely Head (Live from Shepherds Bush Empire) (?) |
 | Album: 5 of 13 Title: Supernature Released: 2005-08-22 Tracks: 12 Duration: 48:05 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Ooh La La (03:24) 2 Lovely 2 C U (03:25) 3 Ride a White Horse (04:41) 4 You Never Know (03:27) 5 Let It Take You (04:29) 6 Fly Me Away (04:25) 7 Slide In (04:17) 8 Koko (03:23) 9 Satin Chic (03:28) 10 Time Out From the World (04:47) 11 Number 1 (03:25) 12 Beautiful (04:48) |
| Supernature : Allmusic album Review : Its something of a mystery why Mute Records waited until early 2006 to release Goldfrapps third album, Supernature, in the U.S. After all, when it came out in the U.K. the previous summer, it made the duo into a bona fide chart success, to the point where the albums terrific lead single, "Ooh La La" -- on which Allison Goldfrapp channels Marc Bolans dippy-cool vocals and lyrics over a shuffling, glam-tastic beat -- drew comparisons to former S Club 7 star Rachel Stevens similarly glam-inspired hit "Some Girls." While Goldfrapp might balk at being called (or compared to) a pop act, its undeniable that the duo has streamlined and simplified its sound since the baroque Felt Mountain days. Its also undeniable that Supernature is some of Goldfrapps most accessible work. Coming across like the missing link between Black Cherrys sexy, sharp-edged dancefloor experiments and Felt Mountains luxe soundscapes, Supernature sometimes combines the best elements from those two albums into something great, and at other times renders them into something surprisingly bland. Along with the aforementioned "Ooh La La," the upbeat tracks find Goldfrapp becoming the robo-glam-disco gods that Black Cherry suggested they might: the starkly catchy "Lovely 2 CU," the fabulously blasé "Ride a White Horse," and "Satin Chic," which could single-handedly make honky tonk pianos fashionable again, all use the duos inherently theatrical style to very catchy, immediate ends. Interestingly, though, the sweeping ballads that used to be Goldfrapps forte are the most uneven tracks on Supernature. Its not that tracks like "Time Out from the World" and "Koko" arent pretty and ethereal enough, but theyre just not that distinctive. Likewise, "Fly Me Away" is pleasant, but maybe a little too pleasant -- it almost sounds like it was commissioned for a travel commercial. However, "Let It Take You" shows that Goldfrapp can still craft gorgeous, weightless ballads, and "Number 1" nails the laid-back sexiness that many of the other slower songs attempt. Its surprisingly heartfelt, too -- is there a sweeter compliment than "youre my Saturday"? It would be unfair to say that Supernatures stripped-down pop is a dumbed-down version of what Goldfrapp has accomplished in the past, since it takes a certain kind of smarts to hone songs into instantly catchy essences like the albums best tracks. Yet, as delightfully stylish and immediate as Supernature is, its still hard to escape the nagging feeling that Goldfrapp could make its ethereal sensuality and pop leanings into something even more compelling. [Supernature was released in the U.S. with the bonus track "Beautiful," which originally appeared on the U.K. Number 1 EP.] | ||
 | Album: 6 of 13 Title: We Are Glitter Released: 2006-10-17 Tracks: 12 Duration: 1:16:08 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Satin Chic (Bombay mix by The Shortwave Set) (04:38) 2 Lovely 2 C U (T.Raumschmiere remix) (05:38) 3 Ooh La La (Benny Benassi remix extended) (06:51) 4 You Never Know (múm remix) (02:59) 5 Satin Chic (Through The Mystic Mix, Dimension 11 by The Flaming Lips) (03:21) 6 Number 1 (Alan Braxe & Fred Falke main remix) (07:20) 7 Fly Me Away (C2 remix 4) (07:03) 8 Ride a White Horse (Ewan Pearson Disco Odyssey, Part 1) (08:33) 9 Number 1 (múm remix) (02:33) 10 Ride a White Horse (FK-EK vocal version) (07:48) 11 Slide In (DFA remix) (12:51) 12 Strict Machine (We Are Glitter mix) (06:29) |
| We Are Glitter : Allmusic album Review : The aptly named remix collection We Are Glitter takes the singles from Goldfrapps glam-tastic Supernature in a variety of directions, courtesy of remixers such as the Flaming Lips, Ewen Pearson, and Múm. About half of the reworkings take the songs in an even more dancefloor-oriented direction; the best of these, such as T. Raumschmieres mix of "Lovely 2 C U" and the DFAs hyper-percussive take on "Slide In," offer a distinctive spin on the originals without obliterating them completely. The other half of We Are Glitter gives these songs more eclectic makeovers: in the Flaming Lips hands, "Satin Chic" becomes a show tune from an interstellar musical, while C2s remix of "Fly Me Away" gives the song an urgency and edge that the album version lacked. Múms spun-sugar, music box-like revamp of "Number 1" turns the song into a fairy tale lullaby that makes it another standout. Goldfrapps own drums and guitar-heavy We Are Glitter remix of "Strict Machine" is a bonus track and a welcome addition for die-hard fans who had all of these remixes on the singles already. | ||
 | Album: 7 of 13 Title: Live Session Released: 2006-12-19 Tracks: 4 Duration: 20:41 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 Ooh La La (03:51) 2 Deer Stop (04:05) 3 Ride a White Horse (06:56) 4 Strict Machine (05:49) |
 | Album: 8 of 13 Title: Seventh Tree Released: 2008-02-06 Tracks: 10 Duration: 41:39 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Clowns (04:08) 2 Little Bird (04:24) 3 Happiness (04:16) 4 Road to Somewhere (03:51) 5 Eat Yourself (04:06) 6 Some People (04:40) 7 A&E (03:17) 8 Cologne Cerrone Houdini (04:25) 9 Caravan Girl (04:05) 10 Monster Love (04:22) |
| Seventh Tree : Allmusic album Review : After spending years on the dancefloor with Black Cherry and Supernature, Goldfrapp take a breather with Seventh Tree. Allison Goldfrapp and Will Gregory slow down the beats and break out the acoustic guitars on a set of songs that suggest chilling out in a field during a hazy, watercolor summer; this is music for after the party, not after-parties. "Clowns" opens the album with fingerpicked acoustic guitar, bird songs, and Allisons nearly wordless vocalizing, making a statement thats bold because its so gentle -- the effect is like stepping out into a sunny morning after spending all night in a club. At first, its a shock, and then it feels great. Avoiding the glammy dance-pop of the duos previous two albums is a bit of a risk, since Goldfrapp could probably make endless variations on "Ooh La La" and still have plenty of fans. However, Seventh Tree isnt so much a radical change for Goldfrapp as it is a shift in focus; even if it doesnt sound glam, it sounds glamorous. Sonic luxury has been the only constant in the duos sound, from Felt Mountains darkly lavish soundscapes to Black Cherry and Supernatures decadent dance hits, and theres plenty of it here, too. This is not Goldfrapp Unplugged, although acoustic guitars and strings waft in and out of the album effortlessly -- if anything, Seventh Trees electro hippie-chic is the duos most polished and luxe work yet. "Little Bird"s psychedelic trip-hop builds to a majesty that recalls "Strawberry Fields Forever," buoyed by layer upon layer of guitar, vocals, sparkling synths, and a massive, rolling bassline. "Caravan Girl" is some of Goldfrapps finest escapist pop, capturing the irresistible appeal of running away with big hooks and an even bigger wall of sounds backing them up. Allison uses her voice more beautifully and expressively than she has since Felt Mountain, especially on "Eat Yourself" and the Air-esque "Cologne Cerrone Houdini," where her upper register shines. Goldfrapp expand their emotional palette as well as their musical one on Seventh Tree, digging deeper into the vulnerable territory they explored with Supernatures "Number One." On "Monster Love" and "A&E;," where Allison confesses "think I want you still, but it may be pills at work," the duo pulls off the confessional, folktronic singer/songwriter style with more flair than their peers. "Happiness," on the other hand, offers some surprisingly cheeky irony, pondering how to find "real love" (answer: "donate all your money") while coming across like a cheery cult anthem about trading your worldly possessions for colorful robes. With all the sounds and feelings Seventh Tree explores, its clear that Goldfrapp doesnt miss the style the pair perfected on their last two albums, nor should they -- this is some of their most varied, balanced, and satisfying work. [A limited edition of Seventh Tree was also released with a DVD featuring live performances at Bexhill-on-Seas De La Warr Pavilion; the videos for "A&E;," "Happiness," and "Caravan Girl"; and TV performances of "Clowns" and "Road to Somewhere."] | ||
 | Album: 9 of 13 Title: Head First Released: 2010-03-19 Tracks: 9 Duration: 38:11 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Rocket (03:51) 2 Believer (album version) (03:43) 3 Alive (03:28) 4 Dreaming (05:07) 5 Head First (04:30) 6 Hunt (04:34) 7 Shiny and Warm (03:58) 8 I Wanna Life (04:13) 9 Voicething (04:44) |
| Head First : Allmusic album Review : Goldfrapp stepped off the dancefloor with The Seventh Tree’s folky reveries, but the duo couldn’t stay away for long. Head First dives into luscious, eminently danceable synth pop thats almost as far removed from the sleek shuffle beats of Black Cherry and Supernature as their previous album was. This time, Alison Goldfrapp and Will Gregory look to the ‘80s for inspiration, but not the brittle sound that was fashionable to ape in the late 2000s, like La Roux and Little Boots. Instead, they explore the uber-glossy productions, staccato melodies, and dramatic key shifts that were the hallmarks of anthems that some might not want to admit they liked decades later. The influence of Giorgio Moroder and Italo-disco in general can be heard throughout Head First, but ABBA and especially Xanadu-era Olivia Newton-John are even more prominent (the cover of “Physical” that appeared between Felt Mountain and Black Cherry feels more prescient with each album Goldfrapp releases). The pair makes more of these sounds than just pastiche, although the finesse with which they re-create this distinctive sound will give listeners serious déjà vu. Even the album’s length and structure feel retro: Head First is a svelte nine songs long, with the singles on its A-side and ballads on the B-side. And the singles -- particularly the first three -- are some of Goldfrapp’s most irresistible songs yet: “Rocket”’s driving minor-key verses and huge, shimmering choruses tap into the brain’s pleasure center as efficiently as possible; “Believer” sounds instantly familiar, but not tired or obvious; and “Alive” channels ABBA with percolating guitars, warm keyboards and synths that sparkle like a shower of glitter. These songs have a sugar rush-immediacy that is new to Goldfrapp’s music, even if it nods to a golden age of pop that was unabashedly joyous. These songs are so mainstream, they’re almost subversive; while Goldfrapp is no stranger to catchy singles, the brooding undercurrents that appeared in all of the duos previous albums are missing. Song titles like “I Wanna Life” hint at the big, brightly colored strokes the duo is painting with this time, and the title track’s rainbow brightness and romantic ideals are miles away from the dark sensuality of their earlier work -- only “Shiny and Warm,” which plays like a revamped “Satin Chic,” has any trace of that vibe. Even Head First’s moody songs aren’t as moody as before, though “Hunt” has a hazy, late-night glamour to it. As almost Goldfrapp album shows, the duo is unafraid of abandoning sounds that worked for them in favor of something else. Coupled with The Seventh Tree, this album proves that Goldfrapp’s skill at adopting and fully embodying different styles is what makes them distinctive, not necessarily one signature sound. If the album seems somewhat slight, it’s purposefully so: Head First is a love letter to the frothy, fleeting, but very vital joys of pop music. | ||
 | Album: 10 of 13 Title: iTunes Festival: London 2010 Released: 2010-07-23 Tracks: 6 Duration: 24:15 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 Believer (03:47) 2 Head First (04:32) 3 Alive (03:42) 4 Rocket (03:59) 5 Shiny and Warm (04:06) 6 Ooh La La (04:09) |
 | Album: 11 of 13 Title: The Singles Released: 2012-02-06 Tracks: 14 Duration: 54:42 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Ooh La La (03:24) 2 Number 1 (03:25) 3 Strict Machine (single mix) (03:42) 4 Lovely Head (03:47) 5 Utopia (Genetically Enriched) (03:51) 6 A&E (03:17) 7 Happiness (single version) (03:37) 8 Train (04:11) 9 Ride a White Horse (single version) (03:44) 10 Rocket (03:51) 11 Believer (album version) (03:43) 12 Black Cherry (04:56) 13 Yellow Halo (04:42) 14 Melancholy Sky (04:27) |
| The Singles : Allmusic album Review : Goldfrapp spanned luxe John Barry-style orchestral pop to dominatrix dancefloor moves to summery British folk and more over the course of their albums, but The Singles shows that their craftsmanship and good taste may have been their most defining quality. That, and Alison Goldfrapps stunning voice, which was flexible enough to not just fit any mold that her and Will Gregorys ideas required, but to redefine them; listen to her soaring highs and cooing lows on "Utopia" for a reminder. While the duos glam-disco hits like the sexy, low-slung "Ooh La La," "Train," and "Strict Machine" may have been most popular, The Singles is admirably egalitarian, a point emphasized by how its sequencing puts songs from different albums and eras side by side. Hearing the timeless-feeling dark romanticism of Felt Mountain tracks such as "Lovely Head" next to the introspective, flower child, synth pop of The Seventh Trees "A&E," and the spot-on 80s homage "Rocket" from Head First reaffirms that Goldfrapp were keen students of pop music of all styles and eras, but vibrantly creative in their own right. Their style-hopping sounds less like searching for what will stick and more like the product of two restlessly creative artists who had the talent to do just about anything they wanted and tried a little of everything. While its disappointing that a few singles arent here ("Pilots" and "Satin Chic" are particularly glaring omissions), the inclusion of two previously unreleased tracks makes up for that, especially since the reflective "Yellow Halo" and seductive "Melancholy Sky" rival the quality of any of their album tracks. | ||
 | Album: 12 of 13 Title: Tales of Us Released: 2013-09-06 Tracks: 17 Duration: 1:23:08 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Jo (04:38) 2 Annabel (04:00) 3 Drew (04:39) 4 Ulla (03:48) 5 Alvar (05:37) 6 Thea (04:50) 7 Simone (04:17) 8 Stranger (04:11) 9 Laurel (04:10) 10 Clay (04:19) 1 Lee (03:37) 2 Stranger (Moog remix) (04:04) 3 Thea (alternative) (04:48) 4 Jo (live in Manchester) (05:16) 5 Drew (live in Manchester) (05:05) 6 Alvar (live in Manchester) (06:28) 7 Nowhere Boy (Soundtrack Extract) (09:15) |
| Tales of Us : Allmusic album Review : Goldfrapp fans know to expect changes from album to album, but the switch in direction between Head First and Tales of Us is one of the duos most drastic about-faces. Alison Goldfrapp and Will Gregorys sixth album trade the neon nostalgia of Head Firsts synth pop for a subtler, more complex sound that evokes Felt Mountains lushness and Seventh Trees acoustic confessions. Tales of Us could be seen as a cross between those two works -- and Goldfrapp have certainly covered enough territory that they could live out their days making hybrids of their earlier music -- but theres more to the album than that. There was a somber stillness to Felt Mountains most haunting moments that made it uniquely compelling, and Goldfrapp returns to it here, delivering the set of unforgettable torch songs they always seemed destined to make. Above all, these songs are intimate: they bear the names of lovers as they unfurl several diaries worth of memories and regrets. Tracks like "Simone" move between whispered sentiments and widescreen heartbreak as the duo blends orchestral and electronic elements into gorgeous arrangements and melodies that sound decades old and instantly familiar. As lavish as Tales of Us is at times, Goldfrapp sounds more genuine and natural than they ever have. On "Drew," strings sneak up on Alisons murmured remembrance of "dreams of your skin on my tongue" as the song gradually builds to heights that prove the duo really should record a James Bond theme. This filmic feel is no coincidence, since the works of David Lynch, Ingmar Bergman, and Michelangelo Antonioni served as inspiration. However, the albums cinematic nature goes deeper than its sound; Tales of Us also features some of Goldfrapps strongest storytelling. "Annabel" explores a childs fluid gender identity, with Alison sighing "why couldnt they let you be both?" over a heartbreaking melody (on "Stranger," she wonders if the one shes been missing is a "boy or girl," emphasizing the all-encompassing sexuality of these songs). The duo also sets some of the albums most unsettling tales to its most beautiful music: "Jo" is a lullaby filled with gunshots and a blood red moon, while an almost sobbing melody gives "Laurel"s sordid tale an added tragedy. While Tales of Us is Goldfrapps most consistent album in terms of mood and sound, the duo still adds some variety. "Thea" brings film noir to the dancefloor with shivery synths and a beat that begins with footsteps, and "Clay" ends this collection of heartache on a (relatively) idealistic note. Even with these slight detours, Tales of Us isnt as immediate as, say, Supernature. Regardless, its Goldfrapps most sophisticated work to date, and one of their most consistently satisfying albums. | ||
 | Album: 13 of 13 Title: Silver Eye Released: 2017-03-31 Tracks: 10 Duration: 44:52 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Anymore (03:54) 2 Systemagic (03:38) 3 Tigerman (04:14) 4 Become the One (04:44) 5 Faux Suede Drifter (05:02) 6 Zodiac Black (05:04) 7 Beast That Never Was (04:38) 8 Everything Is Never Enough (05:06) 9 Moon in Your Mouth (04:03) 10 Ocean (04:26) |
| Silver Eye : Allmusic album Review : Given Goldfrapps fondness for following one of their albums with its musical and emotional opposite, Alison Goldfrapp and Will Gregory were due for a fun album to balance 2013s gorgeously somber Tales of Us. What they deliver with Silver Eye, however, isnt quite so predictable; instead of swinging between extremes, they stake out a more intriguing middle ground. Its true that the album begins with a pair of cybersexy movers that are quintessentially Goldfrapp: "Anymore"s hydraulic grooves and the Radiophonic Workshop disco of "Systemagic" are untouched by EDM or any other trends that surfaced since the last time the duo made its way to the dancefloor. However, as Silver Eye unfolds, things get more difficult to pin down easily. The hypnotic invocation "Tigerman" and the standout "Become the One," which pairs tweaked, Knife-like vocals with an undulating beat before shooting into orbit on silvery synths and harmonies, are the first signs that Goldfrapp arent working from an obvious template. They continue to subvert expectations on the albums second half, where they combine reveries that might have been set to orchestral backdrops on previous albums with a largely electronic palette that balances fresh and familiar perfectly. "Faux Suede Drifter"s languid majesty harks back to Felt Mountain, but the psychedelic contrails of guitars and backwards vocals feel new, emphasizing the contributions of co-producer the Haxan Cloak and guitarist Leo Abrahams. Similarly, the galloping percussion underpinning "Beast That Never Was" adds a newfound restlessness to its pristine beauty. Just when things might be getting too contemplative, Goldfrapp pick up the pace again with the breezy "Everything Is Never Enough," which somehow distills their entire body of work into a single song, and "Ocean," another Haxan Cloak collaboration that closes the album with operatic drama and industrial crunch. At once balanced and eclectic, Silver Eye may be the first Goldfrapp album to represent all the sides of their music equally well -- no small feat, considering how long theyve been dancing to the beat of their own drum machine. | ||